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eltech last won the day on April 13 2017

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  1. I did compare my RP-7000 to my SL-120 (with SME-3009 MK2) tonearm in my main system, and... The Reloop subtly but noticeably whipped the SL-120 everywhere. Both were tested with AT-150MLX. So... the SL-120 went bye byes. I don't think a Reloop is as good a a Kuzma or anything more expensive along those lines. But at it's price it's highly functional, super easy to set VTA for each record which can be important for getting the best out of vinyl and probably equals anything else new at its price point and possibly even double or triple it's price point irrespective of brand.
  2. Agree. No reason to doubt. If he hears it, he hears it.
  3. I wouldn't get hung up on such things. If you like them that's great. I suppose they were midrange. Australia in the 70's and 80's had massive import duty so lots of speakers were made locally from imported parts. Example - most if not all 70's KEF concerto speakers in Australia are kits, not actually built by KEF in the UK. Encel built many speakers locally with SEAS drivers. BJD imports made Audioline. Douglas hifi made linear design. Plessey / Rola speakers were made in Richmond Victoria, and lots of speakers used these parts. Australian hifi was a local, and home-built scene, from electronics Australia kits, or Dick Smith, with not much really hifi stuff. It was mostly midrange compared to today. Lots of Japanese amps. Only the super rich had American or UK made amps and speakers.
  4. The tweeters look like ones made by Philips. But not sure. Probably a locally made speaker. Mid and woofers look like Japanese 70's brand like coral, but could be from Taiwan.
  5. Going by the time you mentioned, my guess is that in your residential area, not many neighbours are using power on this phase at this time. In the afternoons, people start cooking, and kids come home from school and turn on computers and game systems etc. Power line harmonics get worse in the afternoon and evening. There's nothing mysterious about it. For me, the stereo sounds best after 11pm, when neighbours turn stuff off and go to bed.
  6. I understand your concern. I don't know what cartridge you use so it's hard to give you advice. Having said that, good quality cables will specify the capacitance per metre in their specification sheet. Good audio cables will have capacitance of between 80 and 120pf per metre. The free RCA cables that you get with your DVD player tend to be about 200pf per metre. Many phono preamps have 100pf of input capacitance. The only cartridge manufacturer I know that requires low capacitance is Audio Technica, which require a total of 100pf. And that means you need low capacitance cables and a preamp with zero input capacitance. Shure cartridges like between 200 and 440pf. Ortofon are happy with around 220pf. Grado doesn't matter by design, anything is ok. So... what cartridge do you have?
  7. There are plenty of phono cartridge demonstrations on YouTube. Check it this guy's playlist. He demonstrates plenty of cartridges.
  8. If you are deeply concerned about resistance and any voltage losses associated with it, you could mount your phono preamp directly underneath your tonearm and have a few centimetres of wire connecting the tonearm wires to the preamp. This is what all the turntables with in-built phono preamps do.
  9. An RCA interconnect is certainly designed to carry small signals.! If you put 2uV into one end of an RCA cable you will get 2uV out the other end. Try it! If anything, typical RCA cables have thicker wire which have lower resistance than thin tonearm wires, and have shielding to prevent interference.
  10. There's one other thing that makes a diaphragm sound wrong and that's over tightening the mounting screws because it puts tension on the diaphragm and causes it to bend outside it's target distance 😉
  11. Correct! Those are factory measurements. Now you need to find out what the correct target distance is! Then find correct shims.
  12. I know that modern quality compression drivers often, if not always use shims to correctly space the coil distance. They have numbers printed on the compression driver and on the diaphragm. Shims are added to achieve the correct target distance. I know not much about vintage JBL compression drivers. But perhaps one diaphragm needs a shim? I know that if modern diaphragms are not shimmed correctly they can sound and measure rubbish. So... For the sake of experimentation, I would make a shim from A4 paper and insert it between the diaphragm and magnet assembly. Then measure... It should measure different. The A4 paper won't be correct, but will indicate if this is a potentially the issue. You could also measure the thickness of the diaphragm mounting plate with a micrometer and check for significant differences. But my JBL knowledge is next to zero and I could be way off the mark with this advice.
  13. Did you ensure the microphone position and horn position didn't change during measurements? Do they sound much different?
  14. @GavL65 The Thorens tonearm should be a bit better than an SME 3009 series 2. (I assume that's the one you're thinking of?) Both the Thorens and the SME are designed for high compliance cartridges. A modern Origin Live tonearm will be an upgrade over the vintage tonearms IMO. Having said that, I still think tonearm differences are in the realms of subtle degrees, not massive as some people suggest. If you meant to say SME 309, then that's different, that would be an upgrade....
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