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Showing content with the highest reputation on 08/10/14 in all areas

  1. 18 points
    Last Sunday I had a visit from the proprietor of a small family owned business located on the Mornington Peninsula who had this in the back of his car: As I write I hear Leon Russell's piano, Carl Radle's bass and Jim Keltner's drumming with a wholeosity and righteousness that I have never heard before save in my dreams. 18 easeful and proper watts of single ended gooditude on the left side, and the same on the other. Proper bass - not Disneyvision bass, proper bass as comes from musical instruments. Rich, detailed without obtrusiveness. Space everywhere without disintegration. Grip and punch like real music. It is love. The end of the road for me. One to grow old-er with. This is what is inside. It is work of which Mr Miura (he of the beautiful Luxman MB-300) would be proud. ( I hope the photographer doesn't mind me lifting this pic.) We are lucky to have among us someone who can create such magical things, although he is too modest to believe himself a magician: apparently it's all in the iron. And I am lucky to have it to listen to.
  2. 5 points
    Item: Ortofon Super OM 30 Cartridge MM Location: Sydney CBD Price: Make a donation to SNA Item Condition: Good condition, very low hours. Photos attached. Reason for selling: Donating it to raise funds to keep SNA sustainable and free to members. Payment Method: Donate to SNA via whatever methods Marc has in place. I get a confirmation of your generous donation from the SNA mods. I post the cart anywhere in Australia via Austpost standard postage at my expense. Extra Info: I will cover Australia Post regular postage within Australia. You need to pay for any other methods of shipment. Pick up in Sydney CBD can be arranged. Pictures: See attached
  3. 4 points
    After reading various opinions on StereoNET, I was curious to hear for myself whether, in fact, power cables make any noticeable difference in a system. I've previously heard the difference that interconnects made in my relatively modest system (Beresford DAC + Roksan Kandy K2 + Vaf i91s), but power cables?? So on Monday I had all of 10 minutes to finally try two different power cables in my system when it was dismantled. The 2 cables were: 1) the standard generic power cable that came with my Roksan, and 2) an Audio Principe "Signature" power cable Because of the limited time-frame (we have a new baby!) it was an embarrassingly quick and dirty setup: phone playing 320kbps mp3s files > Roksan > Sennheiser HD580 headphones. However I was stunned when I heard a definite and repeatable difference between the 2 power cables! The music sounded fine when using the generic power cable, but when the Signature power cable was plugged in the bass was noticeably deeper, the mids were cleaner with more body and the highs were sweeter. Instead of the music sounding upfront and forward as with the generic power cable, everything seemed to settle back a bit and sound more open, with better separation between the instruments. Even my lovely other half immediately heard a difference. Lastly, I was finally able to plug in an Isotek Polaris board I bought a while ago, with a second signature cable. While the change wasn't as noticeable, it seemed to accentuate the changes I heard between the 2 cables in a positive way - but will need to wait for another time to do a proper comparison So while not an exhaustive testing by any means, just thought I'd share my experience. Some quick pics (complete with toes): Power cable comparison:
  4. 4 points
  5. 4 points
    Cheating? Is there a prize, or a test, or can we be disqualified? Disqualified is it isn't it? I remember all the poo pooing and shaming back in the 80s of people's systems that had parametric or graphic EQ (which was common since it was the go to tech coming out of the 70s). Funny thing was, it was about this time that it became hip to spend big on magic speaker cable and wonder interconnects; you know, EQing your system by swapping out expensive 1m long low value tuning capacitors between components; moving the tone stack out of your amp and onto the back of your rack. Sure it's cool to keep the signal path simple in some theoretical sense, but the stuff in those aluminium boxes is pretty complicated anyway, and the electrons don't seem to run up the wrong way in the maze too often. True, the old graphic or parametric EQ did bad things to phase and you took a hit on sound stage, the cool new EQ toys fix this sort of mischief on the fly though don't they? I see it a bit like a generation gap effect: 70s audiophiles took a long time to ditch their EQ and thought the 80s EQ bad brigade were tossers. 80's audiophiles were pretty convinced that wire was wire and weren't quick to accept the interconnect as tone stack that had become strong with 90s audiophiles, these 80s guys preferred to believe the music came out of their system just how it as intended, no matter how ick that was, and thought magic wire guys were tossers. The 90s audiophiles like to EQ with wire, but if it needs more EQ than a cable can do, then you change components until you find one with the tonal colour you like, because they didn't really think they were using their wire to EQ and they didn't really know why wires weren't wires; it was an act of faith and wallet. The 00 audiophile knows about wire and EQs with his interconnects with joy, swaps his gear if things are still ick, knows EQ is evil through generations of indoctrination, fights the good fight against all things that might jitter, and looks askance at things like DEQX because they include words like DA converter, but feels the allure most strongly. I think the change coming through now is for digital EQ to go mainstream and be fully accepted as the standard in audiophile kit; it's the go to tech coming out of this generation, though the 90s mindset audiophile will think its proponents are tossers. All shockingly generalised I know, and I'm not claiming this scheme is universal and exclusive, just that it matches the generalised trope as I saw it through the decades. So, it's not cheating, it's riding the wave of change for the better and setting one's self up to avoid fossilisation. Or I could be talking complete bollocks.
  6. 3 points
    Item: Pair of Hovland Musicap 0.47uF capacitors Location: Sydney CBD Price: Make a donation to SNA Item Condition: Good condition. Photos attached. Reason for selling: Donating it to raise funds to keep SNA sustainable and free to members. Payment Method: Donate to SNA via whatever methods Marc has in place. I get a confirmation of your generous donation from the SNA mods. I post the caps anywhere in Australia via Austpost standard postage at my expense. Extra Info: I will cover Australia Post regular postage within Australia. You need to pay for any other methods of shipment. Pick up in Sydney CBD can be arranged. Offer valid for 60 days. Pictures: See attached
  7. 3 points
    Thanks to every one who responded! Marc confirms that telecine has made a generous donation to SNA. So its off to its new home. Cheers Tax
  8. 3 points
    Just a reminder, Mika Hakkinen could have been 'let go' at trackside in Adelaide as he had an injury that nobody had survived without ongoing significant impairment. He was skilfully treated and made a complete recovery and returned to F1.
  9. 2 points
    Item: E&S DJR400 Location: Melbourne Price $3,350 Item Condition: Excellent Reason for selling: Regrettable - Upgrading Hi-Fi System Payment Method: Pickup - Cash Hi All, Up for grabs is E&S DJR400 mixer. If you know about this one, I'm sure I don't need to explain what it's about. Fantastic warm sound, portable, 3 band isolator and simple, functional design. Regrettable sale as I'm now in the game for some new hi-fi equipment and simply just not using it enough to justify. Mixer is in perfect condition, no scratches and well cared for. Purchased in 2011 and has also been serviced by Richard Masters in Sydney who is Jerome's personal recommendation to make sure it's sounding perfect. Mixer #399. Modifications that I've had made to it are the wood side panels along with a cue/master blend pot added. Great opportunity for someone else to own this one as I know how hard it is to even get a response from Jerome let alone have one built. Located in Melbourne and prefer to sell locally however happy to ship at buyers expense. Total I paid was $3,650. Selling for $3,350 - send me a PM if interested.
  10. 2 points
    are we mixing apples and oranges here? is there a fundamental misunderstanding? We use the word 'equalization' but it means different things in different contexts. Would you *eq* the upper frequencies as meant by MB? No. He is correct. Would you *eq* the lower frequencies as meant by MB? Yes, you can (if you want). However, this is NOT what was meant by the OP. Yes, he used the word *eq*, so maybe therein lies the misunderstanding. The word *eq* in that sense would perhaps best be replaced by 'voicing'. As is done by *every*speaker*designer*on*every*speaker*ever*designed*. When used with that understanding, then yes, contrary to what MB said, it IS perfectly acceptable to use *eq* in the upper frequencies, if you so desire. Sounds a little flat to you? Ok then, howzabout a gentle lift from 2k (say) up? Why not? It is, after all, your tastes that are being satisfied. No-one else's. Which was clearly the case in the opening post. "Pity this did not have an extra boost thru the 'presence' region". Half a second later using DSP (or *eq*, or voicing) and voila. But no. We are audiophiles. We will scorn simple (on the fly) techniques to produce the exact sound we want and rather them completely hardwired into our sound and for ever unable to change it. THAT is acceptable, a rigid unchanging foreverness that (might or might not) suit any random next selection we play. Hah, to change it whenever WE want, in the way WE want, well that is cheating. Why NOT voice a speaker/system that is acceptable in every other aspect to exactly how we want it to be? As was the case in the original post. Now lost in the fog of confusion over the term *eq*.
  11. 2 points
    Download the original brochure here: https://dl.dropboxusercontent.com/u/57076867/Kenwood_KD600_650_flyer.pdf
  12. 2 points
    It might be my wifes reflection when I told her I was selling stufff. It will soon change when I tell her im also buying stuff
  13. 2 points
    And he works for bacon!
  14. 2 points
    This is the album that started my love affair with this wee scottish band. Immaculately crafted clever and poetic indie pop. From there I discovered the bands other masterpiece "If You're Feeling Sinister Can't wait for the new B&S album early in the new year.
  15. 2 points
    Yes, fair enough. Was not in a particularly diplomatic or careful state of mind when I posted. My apologies.
  16. 2 points
    No it's not obvious, it read like you were stating a fact. You're not the only one who does this and I wish IMO was used far more often.
  17. 2 points
    Just a follow up post to let you know that ZB told me he didn't want anything for the parts he sent me to affect repairs on my ME-850HC. This is extremely generous of him. Thanks for all your assistance too ZB. This is most generous of your time and your knowledge. Very much appreciated. Cheers, Alan
  18. 2 points
  19. 2 points
    One thing I will say about the CD of The Turn is how good it sounds for that format. Excellent disc. I had to crank my amps a bit more than usual, but the imaging, and especially the separation between instruments is awesome. If I had to be critical, the bass is a little down in the mix on some tracks. And yeah, am sure some of the jazz usual suspects have already heard it, but it happens to be a brilliant album. Bring on the vinyl.
  20. 2 points
    The raw response has a falling response of around 6 dB/octave due to its constant directivity and on the bottom end it has acoustic rolloff. Hence a first order filter of the right value will flatten its response but you won't see a crossover that high, but rather roll off that is more related to the driver itself. After all the talk of sophistication and complexity, it might surprise people that you could actually listen to this design with nothing more than a single cap on the tweeter and a low pass on the bass module.
  21. 2 points
    Of course equalisation is cheating! But then of course so is recording. :lol: Greg
  22. 2 points
    With an EQ'd system I found that I have spent much less time on the upgrade merry go round trying to fix things with component and cable swaps compared to so many around here. So is it cheating? Well I'm not cheating myself.
  23. 1 point
    Whatever rocks your boat. What seems absurd to one person, someone else will find perfectly acceptable. And remember, "we are all born mad, some of us remain so"
  24. 1 point
    Jean Michel Jarre - Oxygene jap press LP music for a Blood Moon night... also one of those rare times I give thanks for the dead quiet Nippon vinyl... much needed here. This is better than the recent French repress (I had it, and sold it).
  25. 1 point
    I might just have to sell the SBT and buy the cart like a normal person then Cheers
  26. 1 point
    hahaha i'm about 3/4 in. I do think Harrison Ford did play a good Dumbledor hahaha.
  27. 1 point
    Just pre ordered Damien Rice - My Favourite Faded Fantasy (12" Vinyl). 8 years since his last studio album. Can't wait to hear what he's been up to.
  28. 1 point
    You might like to try Audacity. It's a free download. http://audacity.sourceforge.net/ Basically it lets you record anything that is coming out of your sound card. I use it quite a bit to record my favorite Internet Jazz Radio stations such as Adore & Linn. Saving / Exporting to FLAC is one of the many choices you get.
  29. 1 point
    Of course it's not cheating! We are happy to accept whatever random EQ our rooms happen to throw at us. "Tweaks" and synergy/component matching are often a form of EQ (you can't pair a bright amp with those speakers, you need something to tame their brightness). etc etc
  30. 1 point
    OK, I've taken long enough. Here it is. REDGUM Black Series RGi120ENR I had a few delays on this one, partly because I was reading a book that mentioned the album Imaginarium by Nightwish, this triggered a few dormant neurons and I realized that I had that album and I couldn’t remember what it sounded like. So, naturally, I decided to listen to it “right now†and when I did the xylophone (pretty sure it’s a xylophone) on the first track came through so beautifully that it made me wonder if I’d ever heard anything that ‘pretty’ before. So, naturally, I had to find out. The Burson PI-160 came close, more snap and a crisper sound but not as pretty, it just doesn’t have the Redgums inky, calm background to work with. The Audio GD Master 10 came closer, same ball park certainly, but it just wasn’t as delicate as the REDGUM. So, score one (possibly two?) for the ‘120. I had to do this over 3 nights as there was a bean harvester running up and down on the farm two paddocks over and although my walls cut down on ambient noise fairly well they can’t do much about a bean harvester operating in the middle distance. I found this very interesting because often people talking about REDGUM amps go on and on about the bass and I’m thinking they should save some breath to describe the treble as well, after all there’s no point in having one without the other. I’ve had one or two odd things happen with the remote, it doesn’t like working from too far to the left of the amp and works fine from the right side. Once or twice I’ve pushed a button and had the amp perform the function of the button on the next row or column (go to change the volume and have the channel change, for example) but when I try again it works fine. I may have been gripping the remote too tightly, in any case I’m thinking the fancy remote upgrade would be a good idea for anyone who is not kind to remote controls. I’ve performed this review using all REDGUM cabling, I didn’t start out that way however. I gave the Lenehan Ribbontek speaker cables a try first, and Little Blue Penguin’s Taranui speaker cables a try second, but they just didn’t quite seem to gel. Too much mid range I think, anyway I reverted back to the recommended REDGUM cables and found them to work very well with the amp, as they should, of course. I gave my usual favourite IC’s, the Aurealis R1, a try and after a little back and forth settled on the REDGUM ICs as well. The airy treble of the Aurealis R1 just doesn’t work well with the ‘120, which is pretty convenient money wise, since you can get 4 sets of REDGUM ICs for the price of one pair of Aurealis. Anyway, enough prattle, on to the results. Highs: Very lacking in hardness, sharpness or brightness. Trumpets are brilliantly raspy and yet very easy to listen to, triangles very twinkly and a bit on the relaxed side. Very nice piano in the top end, nicely improved over the ’35, actually. Very relaxed top end that sits on a smooth, inky black background. 8.0 (maybe 8.25) Mids: Very natural and relaxed, loving anything with strings, seems a little more rhythmic and a bit more musical than the ’35. 8.0 Bass: Strong, smooth and wide, excellent at lower volumes, eg <75dB, can become tiring at higher volumes, eg >90dB. Does not seem to intrude on the mids and highs like the ’35 did, although it can distract you from noticing the higher frequencies. On slower tracks the bass is excellent, 8.5, but on some harder rock tracks it can become the dominant frequency range, 8.0 on those tracks. Average of 8.25 Vocals: Female: 8.0, The relaxed nature of the ‘120 really works for the ladies, they come out sounding very natural and sweet. Male: 7.5 across the board, the relaxed sound works very well with all the guys. It works with easy listening and soft to mid rock and then seems to disappear when you move up to harder, more gravelly vocals, there is no apparent softening of any AC/DC lyrics, for example. Soundstaging: Smoother, more at ease and wider than the ’35. The extreme stereo separation I mentioned for the ’35 is still there but it feels more natural. Almost as if it is confident enough that it doesn't feel the need to call attention to its abilities as much as its smaller brother did. Overall Performance Integration: A very wide soundstage that it fills effortlessly with a performance that is strong, full and musical and yet laid back and relaxed at the same time. It comes across as a very confident and skilled performer. Ability to Emote: Takes its time and softly coaxes you in, no kicking and screaming involved, but this means that it does tend to take a song or two to get you into the swing of things. Generally 7.5 but that increases to 8.5 on slow tracks with female vocals and bassy instrumentals. I’d like to give that an 8.0 overall, but it’s probably only a 7.75. Electric Guitar Test: You would think that the relaxed nature of the ‘120 would work against it here, but not so… true edgy is smoothed over just a little so that it would be more accurately described as ‘energetic’ but it still works surprisingly well, an easy 8.0. 80’s Rock Test: Again, not really noticing that relaxed nature on 80’s rock. I’m going to call it an 8.0 but I may have to adjust that up or down a little later on. I can see the ‘120 working really well on speakers that have a tendency towards brightness (Osborn speakers definitely, and by extension Focal speakers as well) but it should work just as well on fairly neutral speakers too. I’m not sure about laid back speakers, I’d have to give it a try on some B&W 600 series floor standers before I made that call. To be honest, after hearing the Audio GD Master 10 and the REDGUM RGi35ENR I didn’t really expect the ‘120 to better the Master 10, but it has. I won’t say it betters it in all areas or anything, that’s for a side by side comparison to decide, but I have to say I do prefer listening to the ‘120 at the moment and that is a nice win for the new REDGUM Black Series. I can feel a direct “comparo†coming on!
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