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Found 12 results

  1. Oh WAM, please help. I’ve just arrived in the fortunate position to upgrade from B&W CM1’s for a bookshelf + sub configuration, driven by a peachtree audio nova 65se (Class D USA integrated dac amp). Budget is £2k for speakers, and I am leaning to Dynaudio but wonder if I am out over my skis. The trigger for all this is I have just started using an external DAC, the Chord Hugo2, and it has massively exposed the gap in warmth and clarity missing in the CM1s with this amp vs my headphones on the Chord which are sublime. In a local HiFi specialist I demo’d some B&W 705S2s, which to me, when connected to the Naim amp at the shop, had a sort of exciting initial experience but then an unrelenting precision. Too in my face. Got connected to a Rotel and then heard Neat Ministras with their ribbon tweeter and that was clear, but brought them into my setup for a few days but, they are too bright. Much brighter than the CM1s for my amp to the point I was missing even the bass and baritone on balanced choral/vocal music (not that low). Have always heard great things about Dynaudio but wonder, will I really be able to push the Evoke 10s or 20s; are the Emit M20s enough of an upgrade over the CM1? I am somewhat limited in the 12x12ish front room where the speakers will be on bookshelves, fairly close to the wall at rear with a max speaker height of 38cm/ 15in. Anyone had Dynaudio experience or been at a crossroads? Can probably push the wife to 2k and then maybe upgrade the amp later, but it needs to have a digital in or two as it also is used for the Telly alongside my vinyl and the Chord DAC.
  2. Viven

    New Streamer

    Hello everyone. I was hoping for some suggestions for a reasonably priced streamer that also sounds good. I haven't bought any new kit since around 2002 I think 🤔, so am a bit out of the loop. System is old but I am extremely happy with it and just want too add a streamer. Any suggestions would be most helpful. One last thing, Belgium is in lockdown so will have to order online, not a problem as I can audition at home then make my mind up. Thanks in advance
  3. Viven

    Old v New

    I posted yesterday that I was looking for a streamer,i mentioned I was a bit out of the loop as I have not bought any new Hi-Fi for nearly 20 years. I am very happy with the sound and I really have not listened to anybody else's Hi-Fi or any equipment at a shop during that time either. Would you say I was lucky in that I have not been exposed and as such I have remained happy with my sound or would you say I don't know what I am missing as modern equipment has improved dramatically? Look forward to your thoughts.
  4. We've nearly all of us done it: bought a product because it not only added-up as being a highly suitable article, but additionally as an aesthetically desirable product; saving up and anticipating the moment of importing that certain product into our systems and sitting back with (hopefully) real contentment and enjoying the sound. But what of that most awkward-to-justify of articles? A pair no less, and which not only required the room space, (for not everyone maybe had for their intended monolithic monsters of choice), but actually necessitated the authorisation from the most difficult to convince arbiter of decision-making: the treasurer, the interior planner, the (in some cases) tone-deaf non-musical 'other-half.... better known as the wife? What were the biggest loudspeakers ever purchased (or even attempted to purchase) and with what excuse did you ply or invent to justify getting them to pass muster with the boss? Maybe you were refused your dream speakers? Was it a long and happy union, (with the speakers!!)? To the technically inclined, maybe seeing this new thread as mere 'phone-in' drive-time drivel, this post was started as many of the current one's appear to have slowed down to a fast gallop, so thought this would be a segue until the next serious topic arrives.
  5. Having just gone through the pages of the latest issue of Hi-fi News & Record Review just out, and reading Steve Harris' article on turntable drives, I thought it would be interesting to learn if there are hard and fast opinions toward the preference of what makes for the most satisfying sound for the LP record. The big Garrard 301 & 401 motor units are renowned for pile-driving bass energies that little else can equal, while it's Thorens idler & belt fed 124 counterpart trades for some added refinement. Then there's the Lenco unit with it's alternative vertical idler drive. How do these fare against the direct-drive units like Technics SP-10, Trio/Kenwood L-07D, and all other top-flight Japanese motor units with their high-torque Quartz-accuracy motors? What of the suspended and non-suspended belt-driven turntables that all lay claim to first place with their superior musical involvement? Is there really a winning formula in any of the above mentioned methods of drive? One brand in the last two years has even developed the fully air-borne rotating platter; no-doubt controlled and suspended within a magnetic force-field. Is it more a case of horses for music-genre courses with drive methods that imbue certain characteristics in tonal architecture with the presentation? More to the point, has anyone tried or experimented with different types of turntable/drive within the same system and with what outcome? No right or wrong answers I'd imagine on what can best be described as a contentious set of diverse values and preferences, but no-doubt of much interest for everyone to read or learn about.
  6. This topic extends to 45rpm chart singles as well as with album titles. Maybe there were even classical and jazz genres that slipped the QC net? Bad concentricity, wrong pitch, distortion, you name it. Maybe the outlet that sold the record took a negative stance when you went back with your complaint, especially if more than one of the same title was found wanting or that their in-shop cast-iron pickup proved your record didn't jump when they tested it for defect? Which label was notoriously poor and which were the one's that appeared to make the effort with consistency in quality? I'm sure some stories will come out of this one, - especially as youngsters confronted with snooty or unhelpful shopkeepers!
  7. It has been announced that the one-time 'specialist' electronic hobbyist shop, local to me in neighbouring Westcliff-on-Sea in Essex, Maplin Electronics, (and possibly named after the Maplin Sands off of the East Coast of the County), has gone into receivership. A shadow of it's former self from the golden days of home-electronics as hobby, it is still sad to hear of such businesses falling by the wayside in the wake of on-line operations, - though in fairness, they were never able to compete with Farnell, RS or CPC for assortment nor price, though always handy, as was for me only last week when I needed a 3.5mm jack plug. With typically representative sales like this though, is there any wonder of their demise? A thank-you to all those helpful staff at my branch and other's near to jobs I'd frequented down the years, though none as comprehensive in both stock nor with so expert a fount of knowledge as the one original and at the time solitary branch of Maplin; based on the London Road in Westcliff back in the late 70's to mid 80's. However, in all seriousness, I bet not everyone always had the ideal service from their branch. Any stories to regale, like a spotty youth pulling out a stylus cantilever or picking a resistor when a transistor was asked for?! https://www.fudzilla.com/news/45709-maplin-goes-into-receivership
  8. While this is not strictly the correct forum for this question, I would much rather listen to my fellow brethren on here who, for those amongst you who have one such device, I know will be able to give clear answers on. It goes thus. I have installed for a client the aforementioned machine: outputting to a multi-channel Rotel power amp via the L,C,R,SL,SR, SW RCA o/p's. This feeds a Bowers & Wilkins Mini-Theatre 5.1 passive loudspeaker and active sub system. When specifying this system within a basement dig cinema room, I'd had the intention of using the Oppo's Blu-ray/DVD facility as well as with it's simple to use digital pre-amp facility, (no nasty Japanese AV-gimmick sound settings for the client to accidentally run into), with the television connected into the Oppo's optical spdif audio input, which operates with multi-channel sources. Within the set-up menu of the Oppo 205 is the sound processing of DTS Neo 6, which forms the basis of re-appraising native 2.0 (stereo) digital audio signals, (eg; most of television's broadcast output, bar big tv drama productions and multi-channel cinema-release films) into a left-centre-right, surround pair and sub-bass matrix. However, there appears to be no such reworking going on when this feature is selected on the optical and coaxial spdif digital inputs, for all that comes forth is stereo (L&R) and no sub-bass. Pathetic, given that all televisions have an optical output for AV duties. I know that if the television were to be playing a Dolby-encoded programme or film, that the Oppo's Dolby 5.1 decoder would kick-into action on these inputs, but I am at a loss as to why they don't have the DTS Neo 6 feature working via spdif - for it is common practice that multi-channel system users listen to 2.0 programme content in a matrix mode on other AV products; one vital factor being to anchor the dialogue to the speaker nearest the television screen. Am I missing anything on the set-up procedure here or is this pure 'oversight idiocy' on the designer's part with this otherwise well thought of product? Also, does it also happen on the previous BDP-195 model? As for the alternative approach with feeding sound from the television to the Oppo by using the HDMI2 audio return channel socket on the Panasonic television and connecting into the Oppo's ARC input, well this is completely useless in operation because it requires one to switch the television onto it's HDMI1 input in order to monitor the Oppo's on-screen menu to see the status of same, (the Oppo unit is located within an equipment cupboard and thus it's front display is out-of-sight), then one has to wait while a message tells you of the making of said connection. Once it does, you are invited to select TV (as opposed to the Panasonic's AV button) on your television remote-control handset to start watching the chosen Freeview tv programme. The trouble with this action is that it doesn't always keep the handshake, (for want of a better techno-babble term), when switching-over to TV because there is a marksman-like necessity with the timing of performing this 'pressing of the TV button' action that renders a success-rate of one-in-five attempts in getting the sound to come through. Wholly unacceptable and un-workable for any client in my opinion. I have had this discussion with the main London Oppo agent with whom the unit was supplied from, but they have little knowledge of these findings, (which is usually the case, - that I am the one who has the rarest of scenario's where problems like these arise; that no-one else has ever had the misfortune of coming across). If any Oppo users (205 or even it's better facility specced 195 predecessor) on here have any suggestions or useful insight into these problems, I'd be most grateful. Otherwise I'm of the mind to write to Oppo's CEO in China to see if a modded unit cannot be procured, for I am loath to absorb the wastage costs on the weight of a badly engineered product that really shouldn't be. This oversight sits right up there with the Colt Starrion Turbo, whose namesake was akin to something lifted right out of a Benny Hill sketch as it should've been the Stallion Turbo. Sorry to be asking in a two-channel forum but I am at my wits end with this product, having stayed late in the night on the job trying to make sense of it all. Any help will be much appreciated.
  9. I've realised I can't hold back from engaging in these discussions while business is quiet, so here goes! What is the most expensive purchase made (relative to date, so could be a flagship DD turntable in 1978) and what influenced the purchase? Was it the measured performance, a showroom demonstration, or influenced by a friend's system, or maybe a glossy advertisement and a lustful desire to own/possess same? Did it meet the expectation placed upon it? Last of all, was it a good investment or simply a lost cause with money poured down the drain like the proverbial chocolate teapot? We've all done it at some point. Mine was with the floor-standing Focal Scala Utopia's; ex- demo for £7k, which I briefly enjoyed, but wished I'd stuck with the better time-aligned Diablo 2-way stand-mount model from the same range, as previously owned. These were short lived and were subsequently swapped for an ex-demo Origin Live Sovereign t/t with Illustrious arm, with my SME 10a sold to a friend and my existing QUAD ESL's in my patent stone stands taking over full-time duties out of sonic preference. Not an exciting account, but maybe yours is, or at the very least, something we can all quietly chuckle about. Over to you!
  10. We all know what we think with regard to various hi-fi magazine writer's 'sound evaluation speak', but one area that I've always taken issue with is when the commentary extends to descriptions of perceived 'height' in a given stereo presentation; not top-to-bottom wavefront height, but as in the locating of certain sounds. Surely this is only achieved within a binaural or dummy-head stereo recording model via headphone listening, and maybe Blumlein cross-paired (mike) recordings (listening on headphones) at a pinch? Any thoughts on the topic, and maybe with reference to certain musical or vocal aspects within specific recordings that we may know, (and subsequently try out on our own systems), to see if this is really true via our stereo loudspeakers?
  11. This will be my last post for new topics for a while so, my real bug-bear is this. Why have them? Surely those who swear by their inclusion are actually enjoying the cleaner, more refined top-end to their existing treble units in their own loudspeakers; ultimately having nothing to do with this reference by manufacturers and certain engineers telling us that the harmonic structures beyond our range of perceptive hearing has impact or influence to the sounds within the frequencies we can hear? The kind of response to this question (for my highly cynical stance on these accessories) firmly lies I believe solely with factual, scientific evidence and not with how it sounds, - though do tell to the contrary if your experience tells you otherwise. I apologise in advance if this is a dull or well-trodden old warhorse of a subject, (I did a search first, just to check). I'm not looking to use any myself, but would like to lay to rest a difference of opinion with an engineer friend who thinks that they make his home-built system sound better, - for I don't.
  12. Live tonight. Worth hearing if new to this, and if not, enjoy! http://www.bbc.co.uk/programmes/b09pq38w
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