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Tassie Devil

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About Tassie Devil

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  • Birthday 15/09/1935

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    Tasmania
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    Australia
  • First Name
    John

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  1. I guess I should part with mine as I have too many head amps. I have been trying to sell an MIT battery one but no-one wants it so I could use it instead of the Violectric - it is just as good! My Violectric has the upgraded volume control and remote control. You can have it for $ 2950 if interested. Get back to me at jcoulsonATiprimus.com.au with the AT replaced by @ of course.
  2. Item: Sennheiser HD 598 Headphones & two cables Location: Dilston Northern Tasmania Price: $175 including postage anywhere in Australia Item Condition: Used but mint condition Reason for selling: Not being used Payment Method: Bank transfer Extra Info: I'm finally clearing out some unused items. These are very nice, comfortable headphones and come with an ujpmarket cable for portable use and the standard Sennheiser one with a large stereo plug. There are lots of reviews on the net. e.g. https://au.pcmag.com/headphones/27564/sennheiser-hd-598 where their bottom line is "The superb-sounding Sennheiser HD 598 offers some of the best sense of space we've heard from $250 headphones." Note that is $USD250 which equates to over $AUD350 so at $175 delivered they are a bargain. My loss, your gain! Photos: Advertisements without photos of the actual item will not be approved.
  3. Item: AKG K702 Headphones & 2 cables Location: Dilston, Northern Tasmania Price: $265 includes postage anywhere in Australia Item Condition: Used but very good Reason for selling: Not being used Payment Method: Bank Transfer Extra Info: These reproduce very nicely and have been used here with portable players so are being sold with 2 cables - an upmarket one for portables and the olriginal AKG cable with the large stereo plug. But I have too many headphones so it is time for a clean out. You can read a review from, Ken Rockwell here: https://www.kenrockwell.com/audio/akg/k702.htm In that review he states ; "The K702 are a very inexpensive way to get fantastic sound for a very long time to come. You'd have to spend tens or hundreds of thousands of dollars on loudspeakers and acoustic room treatments and refitments to get sound as smooth, clean, natural and revealing as these headphones give you for a tiny fraction of the price." Photos: Advertisements without photos of the actual item will not be approved.
  4. I have sold the pair advertised but could be persuaded to part with a second pair if anyone is interested. Sanity is starting to prevail - I really only need one set of the Sennies as well as the Focals. The realisation has come that I have only one head so can only listen to one set at a time. Audiophilia has the tendancy to drive nutters like me even more insane!! So I will not mark the Sennies as sold until another pair go, And yes, they are be tter than the HD 650's, a pair of which I had and sold some time ago. And I have two other cans I really am not using - a pair of AKG K702s with custom cabling ($265) and a pair of Sennheiser HD 598s also with custom cabling ($165). I'll do a digital extraction and advertise them later today. Anyone in NZ can buy the Sennie HD800S for $1350 + postage but the price remains t he same , including postage, at $1375 for anyone in Australia.
  5. I agree the Utopias are less comfortable. The Sennies are brilliant in that area but I do find the Utopias a bit more revealing. Worth the extra cost? That is one for each individual to evaluate in the light of budgetry restrains and the system being used. Yes, that is a cop out of answering the question of which is "Better". John
  6. Item: Sennheiser HD 800S headphones Location: Dilston, Northern Tasmania Price: $1375 (posted anywhere in Australia) Item Condition: As new Reason for selling: I have 3 of these (+ other headphones) so it is surplus to requirements Payment Method: Bank transfer Extra Info: IMHO these compare favourably to the Focal Utopia I also have (yes I'm a confirmed nutter). There are many glowing reviews on the net like this one - https://www.whathifi.com/sennheiser/hd800s/review But a warning, garbage in -> garbage out applies with these like any other hi-end headphones, so do not expect miracles unlers you have good input. But with that good input the sound is superb. And these phones could help you achieve that by highlightling where you can improve the audio chain. So, if you have the equipment to match, give yourself a nice Xmas pressie. Any enquires welcomed. Photos: Advertisements without photos of the actual item will not be approved.
  7. Yes it is the Mk II Taurus, As for which sounds the best, my take is that the quality of headphones is more important. Others have compared them and rate the Violectric a shade better but I have never A/B'd them, and am suspicious about aural memory because any significant time lapse betrween listening s skews thre impressions. Yes I did a carefuil A/B with the amp for sale but have never bothered to do the same for the Tauris/Violectric. But I must admit to being surprised at how good the MIT headphone cabling is. At one stage a solder lead (mine) came loose so I used the Black Dragon cable for a bit and was shocked at the difference in sound. The MITs were quickly repaired and back into service. So on that experience alone I'm confident this amp I'm selling is as good as you will ever get for a headphone amp. John
  8. Item: Vero 50ex Headphone Amplifier and MIT 330 0.6m stereo input cable Location: Northern Tasmania Price: $1990 Item Condition: Virtually new - used less than 8 hours Reason for selling: Surplus to requirements Payment Method: Bank Transfer Extra Info: Purchased on impulse as a possible upgrade. Maybe not an upgrade but a genuine surprise to find that with unbalanced input it sounded identical to my Violextric V281 connected in balanced mode. I was told it would "burn in" but I did not observe that in the few hours I tried it out. My appraisal it is as good as the Violectric is with good foundation because I had both amps going at the same time with each connected to Sennheiser HD800S headphones with the same after market cabling. I merely changed over headphones in a matter seconds to compare the two with the AQ from classical. jazz and pop. So here is an amplifier for the audiophile without a balanced setup that will sound as good as a Violectric V281 in balanced mode. Another advantage is its small size and the fact that running on battery, heat and ventillation are not an issue. It could even be used in portable mode away from a power point. I have not registered it so the buyer will have new warranty. The price in the USA is $USD3000 (which is $AUD4400 before GST)for the amp so I'm selling it, virtually new, at less than half price so it is a genuine bargain with MIT input cabling thrown in. I'm not keeping it as the Violectric is doing the same job and my main headphone listening system is set up for it - no advantage for me to keep the Vero and sell the Violectric. And I must confess to having been lazy about selling it - it has been sitting on the shelf unused for over 12 months but it is tinme for it to go to someone as a nice Xmas present! You can read more detail about the amp at https://mitcables-buyersclub.com/products/vero-hca-50ex-headphone-amplifier Feel free to PM me with any questions. Photos: Advertisements without photos of the actual item will not be approved.
  9. Item: MIT Zero 50ex Headphone Amplifier Location: Dilston, Northern Tasmania Price: $1990 Item Condition: As new Reason for selling: Not being used Payment Method: Bank Transfer Extra Info: This dead quiet head amp is an impressive hi-end product, selling new in the US for the equivalent of $AUD4500. It was purchased on impulse, trialled against the Violectric V821 using Sennheiser 800S headphones, but the two amps sounded so similar to these tired old ears, there was no point in putting the MIT in the system. So at under $2000 this rarely used and as new amp it is being offered at less than new price and is a bargain for anyone with associated hi-end gear. A summary of the specs: The Vero HCA50ex Headphone Amplifier is the world’s first high current, battery powered Class A/B headphone amp housed with MIT’s Multipole Technology. It features fifty poles of articulation. Until now, MIT’s Multipole Technology has only been housed within the little “boxes” found on all of MIT Cables’ award-winning products. For the first time ever, MIT is integrating this technology inside an amplifier. 3 Watts of class AB power. Silent Power–Battery powered supply circuit for super low noise floor. 10k input impedance for high current applications. 47 ohm output for enhanced stability. Frequency response: +/- 1/2 dbu from 3Hz to 60kHz for any type of critical listening. Gain = 13dB or a ratio of 20X for extra headroom. X talk -80 @ 1kHz keeps images crisp and clear. 10.25” X 6.75” X 2.25” size makes use and storage easy and transporting easier. 2.5lbs– can sit on any surface. Signal to noise: >88dBu for best low level resolution. 1/8th inch and RCA inputs for ease of use on most equipment. 1/4 inch outputs are robust and extremely easy to use. Here is the sales blurb from MIT: MIT Cables founder Bruce Brisson began purposefully designing audio cables in the 1970’s after encountering the sonic problems inherent in cables typical of the day. He later founded Music Interface Technologies in 1984 after patenting and licensing his early designs to other manufacturers, producing some of the audio industry’s most ground-breaking and seminal products. MIT Cables’ core audio cable technology is our exclusive Poles of Articulation (Multipole), named after the fact that every audio cable has a single point where it is most efficient at storing and transporting energy. At this point in the audio frequency spectrum, the cable will articulate best, and represents the cables’ particular Articulation Pole. My Comment: At 84 in a few weeks, my hearing is showing wear and tear so the high frequencies are elusive. I've always been a skeptic re cable clasims but have been surprised at the difference the MIT headphone cabling made in my current set up so the above may not be total bullXXXX,. However my hearing is not good enough to judge but maybe yours is!. Feel free to make contact fort more information. Photos: Advertisements without photos of the actual item will not be approved.
  10. Maybe he woul;d prefer to not have his name here. Email me - jcoulsonATiprimin.com.au and I'll put you in touch - he is very clever at fixing amps no one else can. BTW he is in Launmcveston
  11. Item: Luxman L-430 amplifier Location: Dilston, Tasmania Price: $600 Item Condition: Mint Reason for selling: Not being used Payment Method: Bank Transfer Extra Info: I purchased the unit here some time ago but it was faulty. Fortunately I have a very clever contact, familiar with and liking Luxman amps, who went through it, replaced all caps and traced down a couple of intermittent faults. I purchased a couple of hi-end main capacitors which he fitted. The initial appeal to me was that the link between amp and pre-amp could be broken to insert a graphic equaliser. It will also handle phono but that was of no interest to me. It is heavy (13.5kg + packing), but the buyer and I can work out the best way & cost of transport. Here are the specs: Form Integrated amplifier Effective output 105W+105W (8 ohms, 1kHz, both channel) THD 0.009% or less (8 ohms-3dB, 20Hz - 20kHz) Cross modulation distortion 0.009% or less (8 ohms, 60Hz:7kHz=4:1) Input sensitivity/impedance Phono man month: 2.5mV/50kohm Phono MC: 100 microvolt/High-Low switching Tuner, AUX/DAD, Monitor:200mV/40kohm Main In: 200mV/50kohm SN ratio (IHF-A) Phono man month: 90dB (input short-circuit, 5mV conversion) Phono MC: 67dB (input short-circuit, 250-microvolt conversion) Tuner, AUX/DAD, Monitor, Main In: 110dB Frequency characteristic Phono: 20Hz-20000Hz�}0.3dB Tuner, AUX/DAD, Monitor, Main In: 10Hz - -100kHz one dB Tone control �}8dB, a turnover shift type Puri part output 200mV(Pre Out) Light filter Subsonic Filter: 30Hz A high cut-off filter: 7kHz A low boost + 8dB, 70Hz Tapes monitor Two lines (Tape-1, Tape-2) Tapes dubbing 1->2, 2->1 Speaker switchpoint Two lines Power consumption 220W Dimensions Width 453x height 135x depth of 425mm Weight 13.5kg The manual is still available on line. Here is one review: Luxman's top-of-the-line integrated amplifier, the L-430, is rated to deliver 100 watts per channel into 8-ohm loads with no more than 0.018 percent total harmonic distortion from 20 to 20,000 Hz. In addition to the usual amenities provided with top-line integrated amplifiers (moving-coil and moving-magnet cartridge inputs, etc.), the L-430 has some common controls that work in an unusual way. For example, the tone controls are eleven-position detented knobs. That doesn't seem too unusual until you notice that those detents are calibrated in terms of nominal "turnover frequency" (1,000 to 10,000 Hz for the treble control, 20 to 400 Hz for the bass). Turning the treble contol to a lower Hz setting increases the boost or cut effect as does turning the bass control to a higher Hz setting. As Luxman's informative instruction manual points out, these controls simultaneously shift the frequency at which the control takes effect and the amount of boost or cut. In addition to a tone-control-defeat switch, there is a phono straight control which, when pressed, bypasses the balance control, tape monitor and selector switches, and the stereo/mono switch. The phono-preamp output thus feeds directly into the volume control, minimizing the number of circuits and switch contacts that the signal must pass through. The L-430's rear panel contains, together with the standard input and output jacks (gold-plated for the phono input), large heavy-duty insulated binding posts for speaker connections and separate preamp-out main-amp-in jacks. These are normally connected via a slide switch but can be separated by that switch for connection of a signal-processing accessory (such as a speaker equalizer) between the preamp and power amp. There are also two switched a.c. outlets and one unswitched one on the rear. The Luxman L-430 is supplied in a black metal cabinet, and its front panel is attractively finished in pale satin gold with matching knobs and buttons. The control layout is well thought-out, with the many pushbuttons grouped according to function. The unit is about 7-3/4 inches wide, 16-3/4 inches deep, and 5-1/4 inches high. It weighs about 30 pounds. Lab Tests Preconditioning the amplifier for one hour at one-third rated power resulted in a rather warm exterior, and some parts of the top plate were too hot to touch comfortably. However, it did not become significantly warmer during our testing, and in use it became only moderately warm. The L-430 is specifically rated for driving 8-ohm loads, and markings near its speaker terminals make it plain that the total load impedance should not be less than 4 ohms. Our clipping-power tests confirmed that the amplifier has the limited current-output capability that these restrictions imply. The maximum continuous power output into 8-ohm loads was 112.5 watts per channel, for a clipping headroom of 0.5 dB. Although we were able to develop about 120 watts into 4-ohm loads, the output waveform was rounded (rather than sharply clipped). When driving 2 ohms, this effect was even more pronounced, a slight rounding appearing at power outputs as low as 25 watts and gradually becoming more obvious as the power was increased. Eventually the amplifier's current-limiting protection circuits created a large notch in the waveform (this also happened when we drove 4-ohm loads). We decided that 50 watts was the maximum reasonably undistorted output that the L-430 could deliver into 2 ohms. The amplifier's protection system shuts it off with a relay in the event of a major overload or output short circuit and resets automatically a couple of seconds after the overload is removed. Dynamic-power output (tone-burst) measurements indicated that the L-430 has an excellent reserve power capability, developing 156 watts into 8-ohm loads (for a dynamic headroom of 1.93 dB). With 4- and 2-ohm loads, the dynamic power appeared to be slightly less than the continuous clipping-power output (this could be due to differences in the measurement criteria during tone-burst testing). Although the bass tone control had a fairly conventional characteristic, with a moderate range and a sliding turnover frequency, the treble control seemed to do little more than vary the gain slightly over a frequency range of several octaves; only near its maximum boost or cut settings was there a significant effect on the frequency response. The loudness compensation (which Luxman calls "low boost") boosts only the lower frequencies. The RIAA phono equalization was extremely accurate. However, the phono-input termination for moving-magnet cartridges had a relatively high capacitance. Even when using the L-430 with low-capacitance turntable cables, it would be advisable to use a cartridge designed to operate into a load of 400 pF or so. The amplifier was stable with reactive simulated speaker loads, and its slew factor exceeded our measurement limit of 25. Comments Comparing the measured performance of the Luxman L-430 to its printed specifications, it is clear that the amplifier is honestly rated and easily meets or surpasses all significant specifications. Furthermore, those specifications define a very good amplifier, with ample power for most needs, extremely low distortion and noise levels, and considerable operating flexibility. Indeed, in most respects it would be hard to criticize the electrical performance or features of the L-430. Also, as might be expected, the amplifier sounded fine with either MM or MC phono cartridges or a tuner input. We should point out however, that the speakers available to us at the time had what might be called "easy" impedance characteristics, with a minimum impedance of at least 5 ohms, and thus did not activate the amplifier's current-limiting circuits. We would not recommend using the L-430 with speakers whose impedance drops to 3 ohms or less at some frequencies. The L-430's virtues are undeniable, but we were puzzled by a few of its features. We could find little value in the tone controls, for example, but quite possibly someone else would react differently to their performance. The filters, both low- and high-cut, were more gradual in their effects than we would like (although this amplifier is by no means unique in that respect). We would have expected the moving-coil cartridge-impedance button to be on the rear apron rather than the front panel, since it is not exactly an everyday operating control. We would have preferred to have the more useful signal processor switch on the front instead. We hasten to add, however, that the location of a button or two does not alter an amplifier's electrical performance. And the performance of the L-430 was first-rate. Photos: Advertisements without photos of the actual item will not be approved.
  12. Thank you for the nice comments. Apologies for being slack at acknowleging but I failed to tick the "Notify" box and have been sidetracked. It is now ticked!! To reply to the two queries. The two black switches are power ones. The top switch powers on the audio components, the lower one for the video items. Yes. I have all music files backed up on a second 8TB Barracuda enterprise HDD. And I do regular Roon backups to retain all the massive editing which has been done on the music files. The latest effort has been to attach PDF files to albums - something very nice for opera librettos but nice for other albums, particularly when ROON gives no info on them. One can read them on the iPad while the music is playing. Editing is a hobby in itself and has taken over from audiophilia now I hope I'm hopefully at the end of that very long (and expensive) road.
  13. Maybe not all wasted as the expensive lessons learned have resulted in a genuinely good hi-end headphone system. For years I passionately hated CDs and digital generally. LPs, with their cartridge set up problems and clicks and pops in the music were the music source for some time.. The change came when I was seduced by laserdiscs so was confronted with the better DACs as produced by Theta. Ultimately, as DACs improved, I abandoned LPs and wasted dollars on a lot of digital gear. The lesson learned from all, this was that the DAC is the most crucial link in the audio chain. It was the crude DACs in the early CD players that generated the loathed digital harshness. The latest acquisition has been the Aurilac G1, a very nice unit, and the end headphone system in the accompanying diagram is yielding very seductive and beautiful music. An explanation about the Yamaha YDP2006 is in order. The DSP in ROON gives a basic change that works for ROON music sent elsewhere in the house (not shown in the diagram below but achieved with a Canare 3 way balanced splitter). However I find I need further tweaking for the headfphone system. The beauty of the YDP2006 is that one of 40 different settings is eacily selected with the push of a button so I can choose a setting to downplay the over emphasised bass that is common in non classical recordings. Particular settings could be devised for particular recordings but I’ve avoided that level of insanity so far. Bottom line is these old ears are hearing the best music reproduction ever experienced. The two most important items in the chain are the L.K.S. DAC and Focal Utopia headphones but they require top quality input so the Canare cabling (much more important than previously realised) and the Auriliac G1 are just as essential. The chain is only as strong as its weakest link. And my predudice is pro AES and anti USB for digital inputs with USB impractical for my headphone system in another room anyway. So I can now sit back in the armchair and use ROON to select beautiful music. And I should comment the the current system plays albums rather nicely that were previously considered “poor” recordings. The “poor” was a result of the playback quality, not the recording! I do have a BD player in the system so can look at opera etc with video on a Dell monitor but rarely bother as the audio only reproduction is so satisfying.
  14. I'm in the process of doing more experimentation on this and am interested to hear of the experiences of others. My comments here refer to a good headphone setup using a used Yamaha YDP 2 006 digital paramrtric equaliser, purchased recently from the USA. [There is a review of this item at the "What's Best" Forum]. It has 40 possible different DSP settings which, until now I've not bothered to explore and have been using only the one setting. I modified this a little using the DSP options available in Roon and the AQ on classical music is generally very pleasing. It was not expensive, although I had to buy a 120v/240v transformer, but is proving to be one of the more significant units in the music path. But I find jazz and popular fare has overpowering bass with this set up so this morning investigated putting in another setting. But I got a big shock because when the Yamaha was set to no DSP the music was flat and dull and the soundstage collapsed. That makes no sense to me but hearing is believing, or is it? This opens up a whole can of worms and I'm wondering if the Yamaha does something else besides merely altering the frequencies. I would not have expected a flat setting to have an effect on the soundstage and anyway, the Yamaha is still in circuit even if theoretically doing nothing to the signal. POSTSCRIPT: It is obvious & I should have woken up to it earlier - the signal was MONO and specifically needs to be set up for stereo.
  15. "However, well-done masterings in 16/44 can sound wonderful." And I must agree. Today I was drooling over how nice the cello sounded in Bach Cello Suites, expecting it to be another of the hi-rez downloads but no, it was the old 16/44. One wonders sometimes just how much those multi slider control panels on mixers mess up the sound. As you say, it sheets back to the skill of the engineers in control. Bottom line I'm VERY happy not to have to listen to music via LP with its inevitable "Snap Crackle & Pop" + the PIA ordeal of turntables, arms, cartridges with their geometric compromises, ....... Good luck to those who enjoy the challenges of hearing great music from that medium but I've been there, done that, moved on and am not looking back. And I respectfully suggest to the analog diehards that digital is not as bad as you (and I once did) think. If it sounds harsh, then that is the fault of jitter and is not being controlled by the DAC (and bridge?).
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