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tesla13BMW

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About tesla13BMW

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  • Birthday 10/05/1970

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    Brisbane
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    Australia

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  1. Pie & Vinyl , Record Cafe

    @EV Cali there is a second hand record shop / antiques / all sorts of stuff on Blunder Road on the left as you head towards Inala, not far of the Ipswich motorway. Has a cafe' but not sure if they sell pies sorry.
  2. LP12 Grounding

    Hi @Batty excellent value for money with looks to boot. I run it on the office system from the CJ Walker into the Earle Western Troubadour feeding a pair of Image 402's. I have no reason to fault it at all. Never run it on the main system so that will be interesting!
  3. LP12 Grounding

    @Telecine I will try these options again and make notes and measurements, but, my feeling is the different combinations had little effect. However, the ground wire from the LP12 included with the Linn T kable runs to the case of the SUT i.e. the ground post and the -RCA (isolated from the enclosure) are grounded to the ground post internal to the SUT. Therefore wont a ground from the SUT to the phono stage give two earth paths and a ground loop? Or is it only if they go to different ground points? Hard to find a good definition / description of ground loops
  4. LP12 Grounding

    Hi Andy Thanks for joining in. From your knowledge of the LP12 do you agree on keeping protective earth grounding and phono cable grounding separate within the LP12" With the SUT the RCA's are isolated from the chassis but internally the -ve RCA goes to protective earth. With the phono stage the RCA's are isolated from the chassis but through the PCB and a ground wire are common with protective earth. I'll have a look at the Graham Slee Reflex M tomorrow and see what arrangement it has. I am guessing your comment is such that there aren't two pathways to ground I.e. through the chassis and through the circuitry? P.S. The hum is at a similar level with the reflex M and the PH16. I can put in a Bugle I purchased of @Batty (his two box bugle build) and se how it fairs. Cheers, Chris.
  5. LP12 Grounding

    @Zaphod Beeblebrox @VanArn thanks for the advice as this would have been giving a ground loop. I have removed the phono cable ground wire from the cross brace and hence the chassis/top plate, subplatter and platter are grounded through mains protective earth of the turntable. The tonearm is connected to the ground wire of the phono cable and will be grounded through the "signal ground" of the system. Initially this caused horrific hum until I "unlifted" the RCA grounds from the ground post on the SUT. But, I still have a moderate level of hum. However, at listening volume (9 o'clock) it is not discernible at the listening position, but, at 12 o'clock it is. My issue is that there is a noise signal there as it can be amplified and therefore even if it is non audible it must be affecting the music at 50 Hz and its harmonics. The system is dead quiet with CD selected so I believe it is in the phono system. If I am to work backwards from the input to the pre amp do I just unplug cables or should I build grounding RCA plugs and sockets to check components and cables. Does a load need to be present? When I talk "phono system" it consists of LP12 with 100uV MC into SUT into phono switch, there is also a Strathclyde with MM connected to the switch. The switch feeds the phono stage. Shielded cables are used with the shield connected at source. The TT ground wire is connected to the SUT ground post, the ground post is connected to the ground of the RCA's via a lift switch within the SUT (all RCA grounds in and out of the SUT are common). No further ground connections are installed between the SUT, switch and the phono stage i.e. uses the RCA grounds. RCA grounds are connected to protective earth in the phono stage. All components are powered from the same outlet except the right hand side speakers and power amps are supplied form a different wall outlet, although next to each other on the wall. All front end components are powered form a power filter. Any methodical checks to perform or things to try would be greatly appreciated. This weekend may be a matter of unplugging everything and "reset" the whole system including cleaning all RCA plugs and sockets, checking all protective earth connections and power leads. Cheers, Chris.
  6. LP12 Grounding

    @Zaphod Beeblebrox when you say "completely" is that just under the LP12 or throughout the entire system e.g. SUT/phonostage. My SUT ground post is connected to the chassis but is not earthed but my phonostage ground post is connected to mains earth via the chassis.
  7. LP12 Grounding

    @VanArn thanks for the reply. So the short phono cable ground wire should be left unconnected? This photo from Peter at Cymbiosis is principally what I have now.
  8. LP12 Grounding

    @DoggieHowser at least at listening level it is non audible. When you say "earth pin on his phono preamp" do you meant the ground post or the mains earth? My front end equipment comes off a mains filter but the power amps and speakers come off the same power line but pre filter. I find the proximity of the phono stage and pre amp has an effect on the hum. I only have single ended output available on the phono pre amp.
  9. LP12 Grounding

    While trying to minimise hum in my vinyl system I now realise that a systematic approach and greater understanding is needed. I have fitted a Linn T Kable to my Ittok/LP12 with Valhalla power supply. The three pin mains cable has it's earth wire mounting to one of the cross brace mounts. I've seen photo's of other LP12's with the same wiring, but, the set up manual does not show an earth. The ground wire from the T cable is connected to the centre pin of the arm via its plug and to the arm board screw which in turn goes to the other cross brace mount. All this seems correct and fits my understanding of electrical reg's that all exposed steel work must be connected to protective earth. BUT, last night when I plugged the LP12 into another power point (in the same room but on another wall) it was very noisy and was picking up radio - my LP12 is too expensive to be used as a tuner! My Strathclyde Transcrition Development TT does not have a mains protective earth wire. The SME 2009 is isolated from the TT and the phono cable ground wire connects to the bottom of the arm. Firstly - is the LP12 wired correctly? Secondly - should the STD have a mains earth connection? Once I know these things I can then approach the SUT, phono selection switch and phono stage. P.S. At full volume the LP12/SUT produces almost twice the noise as the STD (126mV compared to 74mV of 50Hz measured at the speaker). The phono stage with no TT attached produces 59mV of 50Hz when the pre amp is at full volume (measured at the speaker).
  10. FS: audio research phono

    @colinm1Thank heavens it is silver! Have you considered using a SUT in front of it? My MC is 100 uV which I put through a 40x SUT and then into MM phono stage with great results.
  11. Rega Fono Mini rumble

    I have a hum which is audible at volumes above listening level that I am trying to get rid of. I found I could almost halve it by plugging my Linn LP12 into a different power point. I did have the turntables, phono pre and pre amp all on the same filter. Removing the LP12 to just a multiboard pre filter but on the same power supply massively reduced the hum. Hopefully you may be able to change positions of your components or change where they are plugged into and get rid of the problem.
  12. A message from Audio Research

    Audio reproduction is the result of a system. The weakest link in the system limits the result to be achieved. Recording, source, cables, amps, speakers, room and ears! Any one of these things could limit what is achieved. It is a balance and hence always an upgrade path unless of course you can go out and buy the best of everything in one go. But what fun would that be?
  13. Soooooooooooooo Not loud, not expecting huge bass, nice detail and smooth mids with no fatigue and mainly for Jazz........ You just asked for a pair of ESL57's. The Troubadour did a pretty good job of driving my ESL's as a single pair, but, not when I stacked them. Problem will be getting them into a 3m x 3m room with two other systems and getting a pair for under $1k! Re. valve CD. I still really like my Opera Consenance Droplet 5 but must say I have not seen any up for sale for a while. Good luck with your search. P.S. You could always look at a DIY open baffle with single full range driver.
  14. Wild Burrow Betsys.

    @Mullet I have been reading extensively on open baffles and came to Wild Burro Betsy as well. Haven't purchased yet because there is a discount for getting a second pair :-) When you are searching you will come across a person on several forums called Randy. He is responsible for Caintuck audio and has a number of designs iterations of how he has used the Visaton B200 and the Betsy in OB. I liked the look of the WMTMW on his website - New Loudspeaker - Part 3. http://caintuckaudio.com/ I received this from Randy just last night when asking about his WMTMW speaker. ............as I experimented with baffles of different sizes and shapes, I found that the Betsy drivers could be used in a baffle less than 24" tall and would still throw an image that was as high as the ceiling of the listening room would allow ..... a very cool sonic illusion. I also enjoyed the fact that I was looking over the tops of the baffles from my listening seat with nothing to visually and sonically distract me ..... so the "low profile" baffles became my reference. Of course, an 8" driver will not produce thunderous bass in a small baffle, so the bottom end has to be supplemented. Using suitable 12" or 15" bass drivers in separate baffles driven by plate amplifiers works very well. Being able to place the bass drivers in a different location that the main drivers is beneficial because the optimal location for one is not always the best location for the other. If the amplifier used with the Betsy drivers has adequate top end extension, I feel no need to use an additional tweeter. One can always be added, but it will have to be crossed over at a pretty high frequency because the Betsy drivers are only down a few db at 20K. I look forward to seeing where you go with the Betsy and your thoughts.
  15. Vinyl to CD

    @LinearTracker I think I am onto the same question as you. "What do I do with my CD player to give it the best opportunity to sound the best it can?" Just use it as a transport and run external DAC? Use RCA out, digital out, optical out??? Throw it away and rip everything to hard drive? I have no care in the world for what format something is played from, but, I have limited facility for computer audio. What I care about is this little story. I've always thought my Opera Consenance Droplet 5 did a very good job of playing CD's. But, the other night when doing the "half past midnight" pick up of my son after he finished work (no he can't get a bus home at that time from Brisbane CBD mid week!!) he glowingly said "I got this for you, they were marking it down. The sleeves a bit water stained but the vinyl is perfect". It was a copy of Pink Floyd the wall. I have almost every early Pink Floyd on CD and they are great. The vinyl was perfect, but, I gave it a clean anyway. Playing it on my LP12/Ittok/Asak I have never heard The Wall sound so full of life and character. The sound was more dynamic and filled a space. The sound seemed to carry feeling and emotion that the CD just does not do. I have found this with Adele on vinyl also. So what to do to get my CD to sound like that? "What do I do with my CD player to give it the best opportunity to sound the best it can?"
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