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Logan

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About Logan

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    New Zealand

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  1. Thanks for the reassuring words. But I continue to be unwelcome on the Australian site, not that I ever intend to contribute to it. When I try to browse it I get a page headed up with a closed padlock and a message saying that I am banned from the site. So if merely browsing is so objectionable to Australian sensibilities I can't see myself taking any active interest in the new NZ site. At least I am able to browse it (so far).
  2. Some years ago I backed away from AudioEnz and the much-admired owner and administrator for personal reasons. I later signed up for the Australian StereoNet after persuading them that NZ was not a state of Australia. There I replied to a posting offering a critique of the work of (classical) English composer Benjamin Britten. The poster had (a) misspelt Britten's name, (b) couldn't name his most significant works correctly and (c) didn't seem to have gotten around to listening to them anyway. My corrections were published, but so was a note from a moderator banning me from the site. In a PM he objected to smart-ass New Zealanders thinking they knew more than Australian contributors and injecting controversy into the hitherto placid (???) pages of StereoNet. My question is: am I still banned from StereoNet (NZ)? Please advise.
  3. At least I haven't called anyone an elitist idiot - or is that now a warm and cuddly greeting in current Australian vernacular? Abiding by one set of standards is hard enough - meeting your apparently parochial double standard may well prove impossible.
  4. Some amendments: Use thick plate glass, at least 15 x 15 inches. No other weights are needed. A 50° oven for at least 2 hours. Shut the oven off and allow to cool for at least 2 hours without opening it and/or removing the glass sandwich. Very slow cooling is the key. The above has given me perfect results for years. The only disaster occurred when I neglected to inform my wife I was flattening a record in the oven. I went out for the 2 hours and when I returned I found she had placed a roast in the oven and increased the temperature to 250° without noticing. The mess was indescribable - not even papal intervention could have saved this one. My error entirely.
  5. Thanks for pointing this out. I did indeed accuse someone of being ignorant, but since it was myself I thought that this would fall within the guidelines. Now I know better. Having been accused of elitism in one post and described as either ignorant or an idiot (take your pick) in another, it could be argued that I might have grounds for temporarily overlooking the requirement for warm and friendly responses. I'll start work immediately on an exposition of synthetic polymer chemistry and technology, in words of one syllable, involving no more than 140 characters. I'm told that this is the ultra-modern mode of information sharing, and that anything which needs any more detail is not worth knowing. I'll have my posting ready when someone explains the fundamentals of digital electronics to me within the same constraints. It would be nice if complex things were more simple, and could readily be assimilated by laypersons lacking any background knowledge. But they're not. Scientifically and technologically-illiterate politicians at the Copenhagen Global Warming fiasco have just discovered this. Friendly enough, or am I still missing something?
  6. What's elitist about knowing some chemistry? Thousands of kids study it each year in high schools, TAFEs, polytechnics, and universities, and I'm not aware that they constitute an intellectual elite. No more so than those who study electronics and advanced circuit theory and construction - a subject about which I know nothing. Plenty of the latter write beneficially on this and other audio fora without being accused of elitism, so why are chemists to be singled out? Note that you won't find me writing anything anywhere about advanced electronics. I'm happy to leave that to people who know what they're talking about. Yes, you are asking too much. If I were to go back far enough to deal with the misconception appearing above that cutting a piece of plastic with a knife involves the breaking of carbon-carbon bonds, and then progress though essential background to the chemical and physical properties of polymers I'd need to write a 500-page textbook. I can't be bothered doing that and you wouldn't be particularly interested in reading it - PVC polymers and PVC/PVA copolymers wouldn't turn up until about p450. So why not rest comfortable with the fact that nearly all of the chemical conjecture in this thread and the article that spawned it is nonsense? Science doesn't and shouldn't explain everything - my preferences in the analogue vs digital debate were arrived at simply by listening and finding that one format generally gives me more satisfaction than the other. Likewise nobody rationalises their preference for Mozart over Michael Jackson, or vice-versa, by trying to subject their respective musical outputs to pseudo-scientific analysis.
  7. If any of the protagonists in this discussion, starting with the actual originator of the idea, knew any chemistry in general or polymer chemistry in particular there would have been no discussion. The 'calculations" involving suggested molecular sizes and shapes plus the wrong-headed ideas about cutter heads clicking against molecules or chemically fragmenting them are simply chemical nonsense. And since the argument falls over at Step 1, all the rest is irrelevant. I can't be bothered correcting any of the chemical misconceptions. Except to point out an old adage - if you don't know what you're talking about, don't talk about it.
  8. I bought a Gyro SE/TecnoArm combination a year or so ago and am very pleased with it. You've chosen wisely. A few of my observations might help you set yours up to deliver optimum performance. 1. Use a Gyro record clamp. But don't over-tighten it. You need just enough pressure to ensure no LP slippage. 2. Don't use any after-market platter mats, no matter what their manufacturer claims. I tried a few (borrowed) mats from the list of usual suspects and found that all caused a deterioration in sound quality. The unadorned Michell composite platter was much better than anything else I auditioned. 3. Get the bounce right (and once you do it will stay right). This factor is just as important in "tuning" the turntable as cartridge alignment, VTA, etc. 4. Ensure that glass is NOT the surface that the legs are in direct contact with. I use a granite slab, supported by Clearlight Audio RDC cones and footers. There may well be better alternatives but this one is way ahead of glass and any of the wooden supports I tried. 5. Keep the power supply for the DC motor (and your phonostage if applicable) as far away from the turntable as possible. I haven't yet tried the HR power supply upgrade, but some who have heard it claim that it brings the Gyro performance to an even higher level. 6. To get a significantly better arm than the TecnoArm you have to consider something in the SME V range. The price differential in my neck of the woods is astronomical - $5500(NZ) vs about $850(NZ). 7. Take no notice of the anti-skate scale on the arm. Rega-based arms are notoriously inaccurate in this respect. I find that an anti-skate setting around 0.75g for a VTF of 1.70g suffices. Enjoy. I haven't played more than a dozen of my CDs in the last year. And I haven't missed them.
  9. I too own an Arcam upsampling CD192 player. I chose it carefully, specifically to listen to an exclusive classical diet of music. I therefore wanted a machine that gave a warm and fully-toned sound, somewhat in line with the quality vinyl replay that I enjoy for about 90% of my listening. The CD192 has given me just that, and I'm surprised to hear that you find it clinical and analytical. In my search I listened to some Naim players, and the Cambridge Audio 640C - if you want to hear what "clinical and analytical" really means you should try them. I found them totally unacceptable for my purposes. Some posters have suggested adding a Benchmark DAC. I tried one courtesy of a friend a few weeks ago and found that it too was totally unacceptable - thin, glassy, analytical and no respecter of what a symphony orchestra actually sounds like. So I'm sticking with the unadorned Arcam as the only sub-Wadia CDP I know that comes anywhere near complementing my turntable at a reasonable price. But your listening preferences and priorities might be very much different from mine. .
  10. They're even better now. Excellent construction materials and standards, fine imported drivers (Morel, Peerless, SEAS), and they sound as good as big-name UK or US imports costing up to three times as much (in NZ) across the range. Naturally transportation costs are minimal here - in my case they were zero as I merely drove across town to the factory to pick mine up. Which gives you the chance to chat with the designer and manufacturer, Chris Ball, and to admire his setup. Disclaimer: I have no affiliations of any sort with the company.
  11. I don't recall anyone making the suggestion that sub-standard speakers should be deliberately sought out for combination with top-end sources and electronics. My front end is much more modest than yours, and it would be ludicrous to expect much of an improvement should I splurge on expensive and high-performance speakers which unbalance the whole system.And I agree with you that balance is the key, at whatever point one can afford. Somewhere there's a thread where a US enthusiast put a $3000 Koetsu cartridge on a $100 Pioneer direct-drive Jap-crap turntable and wondered why he couldn't hear any of the claimed attributes of the cartridge. At the other extreme, the managing director of Linn once advocated listening to your Linn Sondek LP12 through the amp and speaker(s) of your portable transistor radio, but I don't think many people were convinced by this viewpoint either.
  12. No - the more humble and less expensive 414s Mark II. My room is too small for the Revelations, otherwise I'd have them installed in a shot. I've auditioned them and I think they're marvellous. But sometime in the future, and before age-related hearing loss becomes embarrassingly obvious, I must have a listen to the newer Image Illusions, which have similar physical dimensions to the 414s. In the meantime I'm perfectly content with the latter.
  13. I believe in the system first and speakers last hierarchy. Like just one other earlier poster I don't see the point in delivering a substandard signal to superb speakers - they can't improve it in any way. Hence the approximate breakdown for my principal system: Speakers 13% Integrated amp 24% TT/arm/cart 26% CDP (1-box) 20% Phonostage 5% Cable 5% Accessories* 7% * Equipment table, component supports, mains conditioner, power strips etc. "Room treatment" consists of heavy window drapes and and thick wool carpet over a concrete floor. It hasn't been counted. The speakers I use in New Zealand are from the locally-manufactured and excellent Image range. Had I bought imported speakers of the same quality I would have spent two to three times as much. Even at 5% I've over-spent on cables. I'm now comfortable with the fact that I can't hear any difference between any sets of interconnects whatsoever, and between any sets of competently-built speaker cables. But I can discern the superiority of my power cables over electric jug cords and that my speakers are best biwired. The modest mains conditioner is mandatory.
  14. Not yet - I started early. Gérard Souzay was a legend in his lifetime; a reputation which for once was thoroughly justified. You'll find reissues on Naxos Historical. Unfortunately he recorded very few complete operas and very little outside the confines of classical lieder and French melodies. My memories of his Mahler put his performance up there with the definitive recorded versions by Fischer-Dieskau and Janet Baker that I own and play often. You'll find that his voice has a distinctive timbre, quite unlike the indistinguishable outputs of the numerous DFD clones around today.
  15. Enzyme cleaners such as "this one" are great for removing contamination that comes from living (or once-living) sources. E.g. fingerprints, bad breath, or the lunch you've just vomitted over an LP you didn't quite connect with. Otherwise they're no better than the traditional few drops of detergent and wetting agent in water, since enzymes are very specific in their action. The manufacturers never tell you this of course - they work on the principle that biochemically ignorant audiophiles will keep them rich shelling out on products they don't understand. Just because super-enzyme cleaners work wonders on your shirts and socks in the washing machine doesn't necessarily mean that they're going to do the same to your LPs. Mixtures of detergents and enzymes often act antagonistically. The detergent deactivates the enzyme. And the enzyme renders the detergent ineffective. Even pure water would be a better bet.
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