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gmdb

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About gmdb

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  1. I'm resigning my SNA membership after this post. The fact that this has been going on for so long and Bill has been selling commercially and saying he hasn't just comprises the the whole forum.
  2. Bill, no need to close down the thread. I'm simply asking for a level playing field on SNA. You know that you started this thread to sell your cables and you know you have been making a profit out of them. You also should know that as ordinary members we should not be starting threads to promote out own products. But for some reason you have been allowed to game the system. cheers Geoff
  3. Hi Mods Can I also start up a thread to sell my products on SNA? cheers Geoff
  4. This has not been sold but will shortly be re-listed.
  5. Item: Audio-Origami PU7 Tonearm Location: Brisbane Price: $2,195 $2,000 ( new these now sell for around $4,000). Plus $20 shipping to anywhere in Australia. Item Condition: Mechanically condition is perfect. Plays records beautifully as would be expected from a tonearm of this calibre. There is some minor cosmetic wear on the wand where it is gripped by the arm rest, and also on the headshell. See images below. Reason for selling: No longer needed. (I also have an Audio-Origami Uniarm.) Payment Method: Pickup - Cash, Paypal, or bank transfer can be arranged Extra Info: There have been lots of great reviews of the PU7 tonearm to give it the reputation of a modern classic. This tonearm is made in Scotland and was purchased from Audio-Origami (Australia). It is a Rega mount and could be considered IMO as the ultimate upgrade for a Rega style turntable (plus others): more bass, more precision, just more of everything in its performance. I used this on a highly modified Rega P3-24 plinth and also on a modified Acoustic Research XA sprung chassis turntable. It performed brilliantly on both of them. I replaced the original hex locking nut with the easier to use one from Michell Engineering. The arm is medium mass, and plenty of information is available about it on the internet, including quite detailed set-up and adjustment videos on YouTube. I have the original foam-cushioned packaging which is included in the sale. The Scottish manufacturer's website can be accessed here: http://www.audioorigami.co.uk/pu7/ Pictures: Quote Edit Bookmark
  6. Tellurium copper is used in the ETI XLRs (better than beryllium copper) and yes they are very nice XLRs. GLWS.
  7. Yes, I appreciate the point you make between DC and AC - and I was actually thinking of speaker cables when I replied, although re-reading I see that was not what you asked about. But it was what was on my mind 😁 Yet what people describe about speaker cables in terms of hearing also appears to be the same thing people describe about RCA cables with silver-plated copper. For AC at least the American Wire Tables give a value for skin effect down to very fine gauges (e.g. 40 awg). Around 18 awg and thinner should be the gauge at which people notice no high frequency loss due to skin effect. That is most loss occurs above 17kHz. Although I've found that people can often tell if a cable has been made with 20 awg or 24 awg as they describe the thinner gauge wire (in bundles) as having higher frequency detail. Skin effect in those cases is well-above 20kHz.
  8. I thought this was well known. Silver-plated copper can sound bright in terms of the upper frequencies seeming to get a boost. But it is system dependent - that is, it depends on how your system reacts to silver-plated copper. And this in some cases comes down to how well your tweeters handle the higher frequencies. Higher frequencies tend to group and travel on the outside surface of a strand of wire. This results in higher frequencies potentially running into a higher resistance - more stuff trying to get through a thinner space - while at the same time the lower frequencies travel more towards the centre of the wire. To reduce the resistance at the surface of the wire, you can apply silver-plating with the aim of keeping the resistance for the high frequencies and lower frequencies around the same. So you don't lose the amplitude of the high end compared to the low end. But how to get this perfect? Most likely very difficult to do when it comes to music where the frequency range is largely variable from track to track , and artist to artist. Too much silver and the high frequencies end up getting less resistance through the silver than the lower frequencies do in the copper. Hence the higher frequencies have a bit more amplitude than they should. This normally doesn't cause issues if your tweeters are a bit on the dull side, but if they're not you might feel that you want to turn the amplitude of the high frequencies down a bit. Yes, this is what would be called skin effect and it does apply. It always applies to a piece of wire to some extent. The issue of whether you should be able to hear it or not at audio frequencies is a mixed one, but as a lot of people do I can't see that science disagrees with them. Silver-plated copper mil spec wire in teflon insulation is some of the best quality wire in the world at a very cheap price. It can work extremely well in some systems. But it was developed for general communication purposes and obviously worked well or so much of it wouldn't still be produced. None of this applies to pure silver wire. regards Geoff
  9. I think you should have a look at the Van Damme pro audio cables. They should be a very good improvement from stock cables and are not expensive. SNA member Bill does them for members at cost price. Here's the thread: @Bill125812 cheers Geoff
  10. A big thank thank you to everybody who replied to this thread. Technical expertise and personal experience have both been interesting. And it's given me a better insight into why some people tell me that they get a good result with a decent analogue cable. I personally remain in the camp of using a properly spec'd 75 Ohm cable for a 75 Ohm connection, but the argument about using RCA connectors on a 75 Ohm cable - that is you stuff it up - is persuasive. (So if a 75 Ohm cable doesn't accurately work as 75 Ohm because of the RCA connector then it does make sense that a non-75 Ohm cable could still give an accurate response by comparison. Both are inaccurate to some degree.) Which suggests that the RCA connector itself is an issue for 75 Ohm, and leads to the question as to why BNC connectors aren't more widely used in audio? Which is a question I don't really expect anybody on SNA to have an answer for. .
  11. And now a message massage from the Swedish Prime Minster: https://www.youtube.com/watch?v=Gbiqj1skGkk From Monty Python's "Previous Record".
  12. Thanks Dave Very interesting: So it's possible if the DAC and let's say a USB to spdif converter are doing a good job ( with reclocking), then they'll remedy issues in the cable? So is it possible that the better DAC you have the less important it is to have a 75 ohm cable? It just doesn't seem right but feedback I've been getting suggests it might be the case. Up to now I've been firmly saying that a 75 Ohm cable must be used.
  13. I had always heard that 1.5 m was a minimum for 75 Ohm but I have had lots of people tells me they get great results with 0.5 m.
  14. Hi Dave Yes, it is obviously very robust, because it still delivers music even when the 75 Ohm protocol is totally neglected, and I do find that odd. But if timing is out should we expect to hear it in the sound quality? I would have always said yes. But I am getting examples where that appears not be the case, and I'm genuinely puzzled at the moment. And I should stress that this is a genuine enquiry wrt to people's experiences. I'm not arguing one way or the other or trying to be controversial.
  15. And I would agree, and have always done so, but recent experience is revealing some odd stuff.
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