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About FR DRew

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  1. Agree with previous posters, something is not right. The last thing I'd describe The Wand as is "dead". I've yet to hear any arm that betters it for dynamics and PRaT. Lots of arms can do the macro dynamics well (the difference between the noisefloor and the very loudest sounds). Where The Wand seems to excel is in preserving the microdynamics so sounds within that envelope are reproduced with a greater envelope of dynamic range. That in addition to the absence of time smear makes for a far from dead ride through the music. My front end is a Garrard 401 on a Corian/Brushbox plint
  2. Wow, a gentleman not without controversy, but one of the renaissance figures of HiFi over the last 3 or 4 decades.
  3. Can’t speak for timber bodies, but the Aluminium/lead bodied 103r that I got from Paradox Pulse is a ripper. Mine was fitted by them, bypassing the fiddly fingers issues. Previous carts have been a shure VST, a Shure M97xe, Ortofon MC 20 Supreme and an Ortofon Rondo Blue. Very happy with the 103r which, with metal body gives both the Ortofon MC's a run for their money. Certainly doesn't sound like an archaic design by any measure.
  4. If the mono columbia six eye of KOB is anything like the mono six eye versions of Time Out, Lady in Satin or Sketches of Spain then yeah, it's where I'd head. I own those three and they are killer. Tone, detail, liquidity... I can forgo the stereo imaging for something that sublime in a heartbeat. The folks recording, mastering and pressing those early Columbia monos really knew their trade.
  5. Can’t comment on cost, but DHL shipped goods from Europe have arrived in less than a week after being ordered for us. (Not audio gear)
  6. In every case where I have both a CD version and a good condition LP, my vinyl system utterly wipes the floor with my digital version. Recent cases in point: Propellerheads: Decks andsrumsandrockandroll Buena Vista Social Club Singles OST Night and day difference. The CD's will only get a run when I want to listen in the car, or when there is a need to not be flipping album sides (background music during dinner for instance).
  7. Hmm, don't know if I'm more mechanically minded than the average bear... I found the supplied setup tool was marvellous and that the instructions for alignment, azimuth, antiskate and downforce were very easy to understand (and adjustment on the newer versions has become simpler). Follow the instructions and you should be fine. Any issues and I'm sure you will find that Simon (the maker of the arm) is a great guy to deal with and will go out of his way to assist. I haven't had a problem with footfalls, but my TT is very well isolated on a structure that used to be an old brick fireplac
  8. I own one of the first generation 9 inch versions of The Wand. Everything I've read indicates that subsequent versions and the 12 inch variants are even better. I run a DL103r with an alloy body. Previously I ran an Ortofon Rondo Blue. Brilliant tonearm at a very competitive price. Unipivots do something special with regard to timing and PRaT. The Wand does astounding things with micro and macro dynamics and detail recovery. I'm a very big fan.
  9. That being the case, lets concentrate on the Propellerheads album. Born digital, not remixed or remastered as far as I'm aware (and given that 99.9% of the sales are on digital format, why would they throttle it back when it's the primary medium). The LP still blows it away. Of course, if the studio is going to take a bucketload more effort with the LP release, then I suppose that's also a good reason to opt for vinyl... Funny how when digital is claimed to be better, that's because it's supposedly a superior format, but whenever LP is claimed to be better that's apparently
  10. For a decade or two this topic has been thrashed to death, but hey, I'll weigh in... Bear in mind that I have a bachelor of applied science and a sparky's trade followed up by studies in industrial electronics, so the "science" side of things should skew my preferences. I've built my own tube amps and speakers in the past, and cabled up one of Australia's top 5 recording studios... My system is pretty lowly by the standards of most here: Martin Logan Electromotion ESL (the bottom of the range of their statics), Nakamichi CA5 PA5 pre power (100w with about 5w in Class A, Nelson
  11. Waaay back in the day I remember auditioning Krix Lyrix and Krix Superbrix. The Lyrix went lower, but the timing of the Superbrix and the perceived "speed" of the low end was miles better... No contest. Less bass but faster and tighter low end wins for me.
  12. The TU260 (L?) was supposed to sound good and shouldn’t cost you a bomb.
  13. Still no pics folks, just some more listening... So this last week I coughed up the minimal funds to get 3 pairs of Chord C-Line interconnects. No, they are not the ultimate in leads, but in all the reviews I've read they are praised for positive attributes while being accused of very few sins of omission or notable problems. They are definitely a step up from the bog standard Jaycar patch leads that they replaced. Cabling is a 3m run of Audio Principe silver/copper solid core twisted pair for speakers, 0.5M runs of C-Line from turntable arm lead (needed an extension of the lead to
  14. I run a Paradox Pulse rebodied DL103R and love it. Previously I had an Ortofon Rondo blue which sounded great until the diamond simply fell off the end of the cantilever mid record side...
  15. Yes, they were sold in Australia. I remember auditioning one in Adelaide in the early 90’s.
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