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Showing content with the highest reputation on 14/03/18 in all areas
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5 points
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Thanks Keith! Unfortunately for you, the visit was still at my shed. I have now completed a delicated room, an isolated building for audio purpose only at rear of the property. Next time you fly over, bring your young Medical practitioner apprentice over again to my new place! It will be day and night differences... your cheese and white wine will be better served.5 points
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well i ended up with some adjustments and made a big improvement - honestly was great to get some additional tips from this video And yes I used Kraftwerk's " Model" and Norah Jones "Little Room" happened to own both. Also used Ed Sheeran's "Perfect Symphony" with Andrea Bocelli. Am happy with results4 points
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Just found some of my old cds, hiding in the missus side of the cupboard. She claims she doesn’t know how they got there. Should be a good afternoon of listening I think. I love Deicide, one of my all time favourites. Incantation. Onward to Golgotha Morgoth. Cursed Samael. Blood Ritual Cannibal Corpse. Vile I prefer them when Barnsey was fronting them. But he was a an absolute fruit loop. Met him when they did their show in Perth in 1995 I think it was.4 points
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I think there have been some very good points made in support of two way speakers here. Of particular merit are the arguments that crossovers can be simpler and less intrusive and have a lower parts value which makes them more economical and which means more can be spent on the quality of those components and other key ingredients.Mike's point that a three way using 8 ohm drivers with a crossover at say 200 Hz requires massive inductors is a very good one. As I write this I am listening to some vintage Tannoy two ways.Still one of my favourite speakers. I am also tempted to build some Devore Orangutan type two ways to see if I can replicate that sound .3 points
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3 points
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Yes, my mates reckon I'm the biggest heavy metal fan they know but I am a fluffy little kitten compared to these guys.3 points
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3 points
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Here is the impedance curve of the DC-X63. As you can see, any decent amplifier, with 4 Ohm capability can deal with these puppies. NAD, Marantz, etc. The list of suitable amps is very broad. And with 94dB sensitivity, 50 Watts should be ample. Thanks to Simon from VAF for providing this information in a very timely manner.3 points
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As I have probably said before I think MQA, despite it apparent complexity, can be boiled down to 2 technical and 1 marketing features. The claimed technical features are: A. reducing ‘temporal blurring’ to improve sound quality B. semi-lossless compression to aid streaming while the marketing feature is C. master authentication to prove provenance - but also has possible DRM. Although the integration of all 3 into MQA was probably necessary for commercial (or any) success it also certainly complicates its discussion. For example I think Archimago’s difficulty with C colours his view of the technical aspects. That is he does not analyse B & C unbiasedly as he wants MQA to fail because of C. Such a tactic of conflating different features is not uncommon in politics – nor even in science/technology in my experience. Archimago is typical of many computer people (which is why he writes in and finds favour in Computer Audiophile) that do not believe in “Intellectual Property (IP)”, that all ideas should be free & this freedom leads to the greatest innovation – and anyone who disagrees with this and tries commercialise ideas is for the Dark Side trying to screw people. An alternative viewpoint is that ideas, like physical property, can be exploited as ‘intellectual property’ and the profit motive leads to greatest innovation. As discussed in the Intellectual Property and Competition (https://www.ipaustralia.gov.au/sites/g/files/net856/f/ergas_report_september_2000.pdf) that I helped write both have their strengths and weaknesses – and neither viewpoint should be used to obscure/bias the scientific merits or otherwise of this technology. Regarding C I agree with Archimago there are some features of digital rights management (DRM) in MQA in that the file can only be played back as full MQA if the DAC or de-rendering software is MQA licensed. However the files can still be played - though without the supposed advantages of MQA eg deblurring. And there is no compulsion for music producers/ distributors to use MQA rather than existing (or other future) technologies. Users likewise pays there money and takes there chance with MQA – as they have with other formats including AIF, FLAC, MP3, DSD etc and can continue to do so but all technology risks obsolescence. So there are some DRM aspects but they are hardly unusual or omnipresent/omnipotent. Regarding B, I think the patent applications said the ‘origami’ compression was only ‘effectively’-lossless but some of the initial marketing said it was just ‘lossless’. This was a mistake. However, it seems to me that only some of the least significant bits of the digital music words are lost and that a 24-bit word is unnecessary for most it not all recordings given that it allows for a 144 dB signal to noise (S/N) ratio . Most live recordings barely exceed 70 dB, requiring only 12-bit words. And if you are worried about the higher S/N of electronically produced music then your listening environment rarely exceeds -70 dB. In this sense the MQA compression relies on more on physical rather than on psychological criteria that does MP3 etc and so should not be compared with them. I think much of what Archimago says on this (and he says an awful lot about it!) is a smokescreen for his real problem with MQA – that it is a non-open platform. As an ‘audiophile’ (hopefully in the best sense of the word!) to me C (‘deblurring’) is potentially the most important of MQA. And as a scientist/physicist I think it can & should be contested through rational argument and evidence. Stuart & Crane’s basic hypothesis is that we are more sensitive to transient sound than continuous ones because of evolution eg the crack of a branch of an approaching predator. Therefore effects of time response to transient (eg impulse) signals in music reproduction systems is more important than the conventional/current steady-state measurements such frequency response – though the latter should not be ignored since it affects our perception of tonal balance etc. ‘Blurring’ occurs when music signals are converted to and from the digital domain and are the result of the filters used to block ‘aliasing’ effects at higher frequencies. The basic idea is that frequencies higher than half the sampling frequency (the Nyquist frequency) result in confusion/distortion during either the analog-to-digital (ADC) or digital-to-analog conversion (DAC). For CDs the sampling frequency is 44.1 kHz and so the Nyquist frequency is 22 kHz and blocking the higher frequencies needs filters that unfortunately ring like bells in the time domain and so blur sharp transients/impulses. And the steeper the filters the greater the ringing. One approach to this problem is to increase the sampling frequency – so that the filters can be less steep and ring less but still block aliasing frequencies above human hearing. But how high is controversial – some say 96 KhHz is sufficient, others as high as 382 kHz. The latter of course leads to very large files that even a perfect digital network (NBN) would struggle to transmit in real time. MQA adopts a different solution and says that, without having to go to such high frequencies, one can allow some aliasing and so use less steep filters with less ringing. As with any solution there are no free lunches - the distortion caused by allowing aliasing might be more undesirable than the ringing caused by steeper filters. Stuart & Craven, the authors of MQA, say they did extensive listening tests with professional and non-professional listeners who said the MQA compromise sounded better. Others want independent double-blind tests to verify or otherwise. My own experience (and I have no financial interest/gain in MQA!) is that I generally find MQA more relaxed and less ‘digital’ – not by a huge margin but certainly a step forward in our slow progress to perfection! The deblurring can be applied in both the the analog-to-digital (ADC) and the digital-to-analog conversion (DAC). This requires that the manufacturers buy a license and submit their equipment to MQA so that the filter can be adapted to specifically to it – and of course some manufacturers object to this both from a cost and trade-secret points of view. By using some clever mathematics called convolution in the digital domain MQA also says it can undo much of the blurring that occurred in the original analog-to-digital if it was done without MQA, particularly if the ADC’s characteristics are known. This of course is a potential boon to record companies who can now try to sell their back catalogues (yet again!) with improved sound quality. The MQA process is different to remastering that requires remixing of the original ‘master’ files which is a time consuming and subjective process. MQA merely requires working out the best convolution filter through which to pass the files and so can be done quickly on an industrial scale – another reason why the record companies like it. But for me there is no problem with this provided it does lead to genuinely improved sound quality – the consumer makes their choice and pays their money, or otherwise! I have just bought a Pro-ject S2 Digital preamp/DAC that has many of the features of the extraordinary Mytek Brooklyn but at a much lower cost. It also does the total MQA de-rendering, not just the 1st part as does my Audioquest Dragonfly Red. But the Pro-ject confirmed my previous experience with the Dragonfly (and at a higher level of SQ) – that MQA playback generally sounds more natural/less digital glare through my very high resolution/low distortion system including Hypex Ncore amps and Kantu 9 loudspeakers. So I for one will be putting my money where my mouth is and supporting MQA as a significant step forward in sound reproduction.3 points
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Item: Shelter 411 Type II MC Step-Up Transformer Location: SYDNEY WEST (NSW 2190) Price: $825 (Retail AUD$2095) Item Condition: Very good Reason for selling: NLR Payment Method: Pickup - Cash, Paypal, COD Only Extra Info: Up for sale is a great SUT for low output MC cartridge, works flawlessly, from a smoke & pets free home. comes with original box, blank warranty card, local pick up welcome, can be post AU wide for $15. http://www.krispyaudio.com.au/products/Shelter-411-Type-II-MC-Step%2dUp-Transformer.html Product Description The Shelter 411 MKII is mono-functional stereo MC transformer to match with MC cartridges with internal impedance (DCR) of less than 15 ohm. The impedance tolerance is 25 ohms. The transformer is a toroidal design that applies the toroidal winding to 0.05mm thickness of supermalloy, layered ring-core. The core volume has an external diameter of 25mm, internal diameter of 16mm and height of 10mm. The termination of the wire is directly connected to in/out terminal. Therefore, the high efficiency of the toroidal transformer has an extremely low loss structure. It delivers the signal from the cartridge without coloration to the phono-terminal directly. The Model 411II is a modified version of the original Model 411 and it has 32dB of step-up, a ratio of approximately 40 times. Made in Japan. Specifications: Input Impedance: Less than 15ohm, tolerance to 25ohm Step up ratio: 32dB Output Impedance: 47K - 50K ohm Dimensions: 66 x 142 x 106mm (HxWxD) Weight: 1kg Pictures:2 points
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Item: Legend Acoustic Joey 6 SE Speakers with Stands Location: Melbourne Price: $650 Item Condition: used with minor marks, please check the pictures Reason for selling: Wanted it for surround system but never happened. Payment Method: Pickup - Cash, direct deposit and COD Only Extra Info: The speakers come with sock like grill which is not in the picture and all the spikes for the stands as well. Prefer local pick up for now unless no takers. More info: http://www.legendspeakers.com.au/products-joey/ Pictures:2 points
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Item: B&K DynaJet 606 Valve tester Location: Melbourne Price: $375 plus postage Item Condition: Very good Reason for selling: recently bought an AVO MK2 Payment Method: Pickup - Cash, bank transfer Extra Info: very good tester for quick test. Machine in very good cosmetic condition and can test most audio tubes. Cannot test 300b, 211 and 845 tubes. Plenty of info on the net and YouTube. Very easy to use. I have all the document and including the original warranty card. I have use them to test el34, 6550, kt88, kt66, 6sn7 and all small pre amp tubes with great result, machine sale as is, no return. Who ever interest please pm me and please search the net and check you tube before buy. Note: Machine is 110v so come with adaptor as seen in the last photo. Will donate after sale. Pictures:2 points
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Hi All, I do have Arthur’s details if you still need them as he recently serviced my Pre which I’d bought 2nd Hand & he was very helpful & offered to look it over for free. After some discussions about what sound I’m after he then offered to replace all power output capacitors, again for free & now it’s a much better match for the rest of my gear. BTW - I offered to pay & then just sent him some cash to cover parts & the cost of the courier back to SA. Cheers Matt2 points
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Ok, Schiit JIL ordered and on the way. Should be better than the Creative SB1240 I currently use.2 points
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Cabaret Voltaire - Code. 1987 masterpiece from the cabs - produced by Adrian Sherwood2 points
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2 points
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I think two way speakers are great! Especially the sealed box types.2 points
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A few more birds today: Beautiful firetails Grey Shrikethrush Spotted Pardalote cheers mick2 points
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With the PSE-144 horn, the tweeter and mids share the same horn and their outputs combine at the throat. These two bands then share matching radiation characteristics. In some ways it does behave like a 2 way system. However, since a crossover is in place I'd still class them as a 3 way system.2 points
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2 points
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Just dropped off the amp to Arthur. Looks like it’s a fairly typical problem with his older pres and a fairly straightforward fix.2 points
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2 points
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2 points
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I'm going to try the Schiit JIL, I've just ordered one from from my local I'll get back to you on my opinion of it2 points
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2 points
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Was playing a couple of Sun Ra discs last night, and felt the need for more this morning. Came across this one on Tidal.I don't own a physical copy of it yet, but sure do plan to.2 points
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I don't think you took that shot today (or yesterday as it is now). Guessing from the amount of sunlight on the floor that it is still a bit previous for setting up the gear to listen to The Wall rather than admire them. Neville minds, won't be long now.2 points
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@TerryO Its also a can amp if you want to get your Bose or Beats cans out2 points
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Put this on for one track... listened to the whole album. I think my current system is too engaging. JSmith2 points
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Neil Young + Promise Of The Real – The Visitor. new album from Neil - despite some negative reviews I quite like it on first listen. $12 at Amazon. All records should be this cheap2 points
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Three Years , a collaborative effort where shared vision became reality Miles of hand wound transformers , wire, solder, and sweat....they are finally burning in on the bench. The latest prototypes in something truly special, .............called " Fury " Few hundred more hours, let's see if all the circuits are stabilized. I will then send out the specs. Thanks for your support and interest to all our members2 points
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2 points
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Forever autumn > Autumn leaves > all the leaves are brown > California dreaming > Mamas and Papas > Papa's got a brand new bag: James Brown2 points
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2 points
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Great post, few things for a newbie like myself to try, particularly the longer triangle listening position. Thanks.2 points
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Where's everybody gone. I hope I haven't overdone it here, I know this page took a while to load. I've been holding off, waiting for someone else to jump in, but... Still washing all of my records, another wet day here, started early with a little 'live' warm up... Thin Lizzy 'Live and Dangerous' 1978 Vertigo , Dist. in Aust. by Phonogram. A blistering Live Album, recorded when the band was in their prime, and the last album featuring Brian Robertson, who left and later joined Motorhead. Celebrated still as one of the best Live Albums from the '70's, and I would agree. Original copy in pretty good shape. Brian Robertson joined Motorhead in 1982, and in 1983 they recorded his only Studio Album... Motorhead 'Another Perfect Day' 1983 Bronze Records, England. Dist. by Polydor. record I think this is my favourite Motorhead Album. Robertson was reluctant to play their older material and soon left the band. It has more of a Metal feel to it, and very nice sounding production and pressing. My original in pristine condition. One thing led to another, as it normally does, and up next... 'Full Metal Jacket' The Songs That Drove Metallica 2006 Castle Music, Sanctuary Records, Made in EU. Venom 'Welcome to Hell' 1982 - 2003 Re-Issue, Earmark, Sanctuary, Get Back, Made in Italy by Abraxas. A Re-Issue of one of the first Black Metal Albums. I've never heard the original, so don't have a reference to compare. This sounds pretty good, it's messy as hell, but I think that's part of the point. There are no reviews of this pressing on discogs. The album is criticised for its production, but again, that's part of it. Up next... 'Speed Kills' The Very Best in Speed Metal 1985 Compilation, Music For Nations, Made in England. My original 'Import' in beautiful condition. A blistering album in every way. The Artists, the track selection, the mastering and the pressing. It's a pivotal Album for me, it opened the world of Thrash. I had to include the track lists, 'cos they are amazing. Cradle of Filth 'Bitter Suites to Succubi' 2001 Rock Tribe, Worldwidetribe, UK. A transitional Album for the band, with six originals. Criticised as 'uneven' (Wikipedia), and it's nothing spectacular, but I like it, its a great listen. Something about Dani's vocals, one of my favourites in the Death Metal world. Gothic, Melodic and Epic. Nothing on 'Nymphetamine', which is a brutal, well crafted and long Album. I am exhausted after that one, but only on CD at this stage. Necrophagist 'Epitaph' 2004 Relapse Records USA. Finishing of with a little Technical Death Metal. Clean and clear production, sounding fine on the coloured Vinyl. I've read a couple of reviews on this one, and man, some of these writers are way too picky. Let an artist create. Some hit and some miss. Everyone has different tastes and different sounding systems. I tend to steer away from reviews, looking a few up now as I've started posting, but usually I listen without prejudice and let the music do the talking. Some of my favourite albums are ones that copped grief. That's it for today Fellas.2 points
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A couple from today: Eastern spinebill Grey butcherbird through our loungeroom window: cheers mick2 points
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2 points
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1 point
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1 point
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U2 – Zooropa - original UK pressing. don't think I have played thus in 15 years.1 point
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Hensa, I used to like listening to the Maximus at about 1.2m out into room and move your head to a nearfield monitoring position about 1.8m from the speaker. It sorts out both the heavy bass, brings balance and midrange bite improves too. They have done a good job of that speaker, just a very refined and detailed sounding speaker when set up correctly. Steve.1 point
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