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andyr

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andyr last won the day on April 30 2016

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About andyr

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  • Birthday 30/04/1949

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    Melbourne
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  1. George, I suggest a "microfibre cloth on the vac end " is not a good idea Is this a vac machine you have put together? My experience has been that you need to: dry the LP using a 'wet/vac machine' like a Nitty Gritty to suck the gunk (in solution) out of the wet grooves or use a filter loop (1 micron or less) off your us tank, so that there is no gunk in the solution at the bottom of the grooves. Then you can air dry the LPs - or, better, blow dry them. Andy
  2. Wow - you've had it and come out the other side, Brian! Great to hear ... we should get more of this sort of good news. It certainly is (a superb phono stage)! But you've confused me ... it has gain options which I presume you are not currently using - as you use a SUT instead? But if you can increase gain by 10dB, using the dip switches ... you can use it by itself? NP, Brian. Let's hope Karen can show you how to get the additional gain you need, using the dip switches. Then you should be able to achieve optimal loading for the Koetsu Silver. Send me a PM after our social distancing regime is over! Andy
  3. Given you are in Victoria, warmtone, it may be easy to organise for you to audition a head amp, instead of a new SUT. At least ... you would be able to achieve the optimum loading for the Koetsu Silver, with a head amp (rather than a SUT). I couldn't find the Koetsu Silver in the Vinyl Engine cartridge database but all the Koetsus listed seemed to have a coil resistance of 5 ohms - which means the optimal load for the Silver should be between 50 ohms (10x) and 500 ohms (100x). Send me a PM if you are interested in exploring this option. Andy
  4. So this "commercially made phono stage " doesn't use output coupling caps, Felix? If so - that is outrageous. But, as you say ... "caveat emptor"! It's possible to design a circuit to null-out DC offset ... but this makes the overall circuit more complicated. With my 'Muse', I chose the simple-circuit option but use output coupling caps that cost me A$250 the pair (and worse now, with the current state of the dollar! ). But this price is worth it IMO - as they sound good. Very few commercial phono stages under $10K will use caps as pricey (and good-sounding)! Andy
  5. What I use are HPM 106/2-WE. Won't take 20mm outer sheath, tho! Andy
  6. OK, so Linn was saying that - for the diamonds they use in the Troika - 1600 LPs should be good. IE. 3200 sides instead of my estimate of 2800 sides. Agreed ... cleaner records = less wear. Unfortunately, we just don't know whether the figures of 1000 hours or 1200 hours etc. for stylus life are for pristine grooves ... or not. As I don't want to degrade my grooves ... I'm going to assume the number refers to cleaned grooves. Andy
  7. True, Felix - and there are widely differing claims of diamond longevity floating around. My view is that by the time you start to hear wear-related distortion - the stylus is already worn enough to have done some groove damage. So I use a clicker - as @GregWormald posted. 2800 sides = 1000 hours = replacement time. Andy
  8. Absolutely! If steel sounded good - we'd all be using cables with steel wire inside - not copper! Mfrs do it for 2 reasons, I suggest: cost robustness. Andy
  9. Sure he was, Pops (asking for help). But - like so many people - he didn't understand that the more info you give, when you ask for help ... the more helpful people can be. Thank you, "buddy". Once you get to your 70s, pin, you might think differently. Andy
  10. Decky, I'm surprised at your comment. Things are "electrically compliant with AUS/NZ mains standards " because they have been through the compliance process and are certified as having done so. US plugs and power cords do not have AUS/NZ approval. Andy
  11. First time you've mentioned 3 amps! Can I suggest, with a bit more thought than you gave to your initial post ... you could've come up with the following post, which - in conjunction with a pic of the back of one of your 3-channel amps - would've completely explained your situation: I have 3x older, 3-channel amplifiers. On older amplifiers, you used to get these little connectors that went between pre-outs and pre-ins , very short things. My amps require them and I'm currently using 500mm rca cables - which is messy. Anyhow, I would like to know what these little connectors are called and where I can buy some please. cheers Andy
  12. WTF not take a pic and post it - just to make things perfectly clear for the punters here, who are trying to help you? If you really do need 5 pairs ... it would seem they are not the "Solid RCA jumpers , needed to connect the preamp to power amp section of the amp " that @DEANO23 mentioned? So you have me totally confused. A pic of the back panel of your amp would be nice - with your current 500mm cables in place. Andy
  13. Sorry for the delay in responding. I had typed in a long answer at lunchtime – and then had a connection problem to StereoNet … and it disappeared into the ether! ☹ Yes, there’s lots of chatter on the ‘Net about SUTs – but very little about headamps. ☹ Possibly because there aren’t many of them around by comparison? And I suggest comments about the advantages of a SUT – such as reduced noise or improved clarity – can really only be done in a direct shootout between a SUT and a headamp. Certainly, the few such shootouts I’ve been involved in have always resulted in the person selling his SUT and buying a headamp! 😊 Surely, the fact that SUTs sound different means that they influence the sound? Whereas what is really needed, to increase the signal level of a LOMC, is something that has no effect on the signal – except to increase it? IE. a “straight wire with gain “(to borrow Quad’s marketing slogan from the 60s & 70s). 40 dB (100x) is not ‘low gain’ – it’s the standard for MM phono stages. And a 10x gain headamp is adding 20dB of gain. But, yes, if a headamp is noisy … then this is not good for listening to. Which is why the headamp I can send up to you is powered by a 12v SLA; its noise floor was measured as -120dB – so inaudible! If you’d like to proceed, I think the best way forward is to PM me - then we can organise the logistics outside this thread. Perhaps you should also take up Greg's offer to audition an FRT-3, so you can have your own shootout? Andy
  14. When you say "the tube phono I've been using allows me to adjust the loading to play with increments from 100 to 1k to 47k ohms (currently at 328 or 378) " - I assume you know that when you use a SUT (which sits in between the cart and the phono stage), it adjusts the loading which has been set at the phono stage. The maths for this is: loading seen by cart = phono stage loading / (square of the SUT turns ratio). So you would have to set the phono stage loading to 47K ... and then your 1:10 SUT would deliver 470 ohms to the cart. IOW ... you severely limit the loading options for your cart, when using a SUT. Another way of providing gain for a LOMC cart - so it can feed a MM phono stage (but without the loading limitations of a SUT) - is to use a "head amp" ... ie. an active gain stage. I can lend you one of these to play with, if you pay postage (I'm in Melbourne). Andy
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