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Eagleeyes

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About Eagleeyes

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  1. And you thought spending money hand over fist was part of this hobby - boating 10 percent of initial cost at least per year to look after the new Bertie. Please get it inspected Aj prior to purchase as they are great boats but can cost you. Someone buy this amp its insanely good for the money.
  2. Hi Tom Yes you just need one extra box of your choice to plug the rca leads into from the Rega and then the same into one of your inputs available on the preamp. You can use a lot of options , sna has a lot of phono stages for sale in the classifieds. Work out a budget and test in store or try any of the options above, its a simple mistake - some pre amps come with phono stages built in for mc and mm carts and others don't. Particularly models made 5 years or so ago when vinyl was all but dead part from us brave souls who kept the faith. you have good gear, use the marantz short term to listen to your vinyl and then save up or buy a new phono stage and then really hear your system shine. good luck mate PS Also buy a phono stage that can do moving coil and moving magnet as the first upgrade you may make is to jump to moving coil and you want to ensure your phono stage handles its. yes the mm cart you have is good but can be improved upon like everything else in time.
  3. Mods please close and or delete this advert as the as new cart is now in 2 parts and off to clear audio for repair / quote etc.
  4. Lovely amp and great price, once of the best integrated amps on the planet. Bargain at this price. glwts
  5. Now they would have taken pride of place on one of the wall of my design agency, absolutely wicked, good luck not that you will need it.
  6. Item: Cambridge Audio Azur 651 BD Universal Blu-ray player- SACD etc Location: Perth Price: 395 was about 1200 new various prices found rom $500 pounds to $1200 Aus Item Condition: Excellent Reason for selling: no use getting out of surround sound, played 3 discs on it this year. Payment Method: Pickup - Cash, Paypal, COD Only Extra Info: One box multi format cd/ blu-ray, said player in mint condition. I think same product as Oppo 93 but badged as Cambridge Audio An audiophile extravaganza It is the 651BD’s musical performance that really sets it apart from its peers. Can reproduce the dynamics and scale required for the most elaborate movie soundtracks. Supports all high-resolution formats including DVD-A, SACD plus of course CD. With an immense combination of multi-format capability, 3D video performance and spine-tingling audio capability, the 651BD is waiting to show you how Blu-ray can really perform!Cirrus Logic audio DACs and incredible attention to the design of audio circuits ensure this latest player sounds truly amazing whether playing movies or music. Indeed the 651BD not only supports Blu-ray discs – including those with 3D content – but also CD, HDCD, DVD-Video, DVD-Audio and SACD. Twin screen connections 2 x HDMI outputs can deliver video to multiple displays (such as a your 3D TV and your projector) Both outputs are compatible with HDMI 1.4, the new standard for 3DTV and Deep COlour Support The primary HDMI output features a high quality Marvell QDEO video scaler with motion adaptive noise reduction for quiet and natural video, free from noise and artefacts Delivers unbeatable picture quality from existing DVDs, which can also be up-scaled to 1080p resolution. Comprehensive format support The 651BD supports decoding of the very latest formats including Dolby TrueHD and DTS-HD Master Audio These formats can be output as bitstreams over HDMI for an AV receiver to decode internally. Designed for all the family With such a vast specification you might expect the 651BD to take some getting used to but you’ll be delighted to hear that’s not the case. Genuinely simple to use with essential operations located on the ergonomic front panel and more comprehensive control via a clear on-screen menu While in use, it’s whisper quiet and lightning fast processing allows for delay-free access to your movies and music. As easy to operate as any ordinary player. Aesthetics and premium build quality are further strengths and Cambridge Audio’s trademark wrap-around casework houses the 651BD’s proprietary engineering within a low resonance, acoustically damped chassis. The 651BD is ready to connect to the internet via Ethernet and supports BD Profile 2.0 (BD-Live and BonusView) and other interactive features. well reviewed and awarded Cambridge Audio Azur 651BD review | What Hi-Fi? WWW.WHATHIFI.COM Fine picture and sound, but not the best in class with fast motion Cambridge Audio Azur 651BD Universal 3D Blu-ray player at Crutchfield WWW.CRUTCHFIELD.COM FREE 2-day Shipping: Finally a player that music and movie fans will applaud equally The versatile Cambridge Audio 651BD can play just
  7. Item: Audio Technica ATH SR9 headphones as new in case with all leads Location:Perth Price: $ 390ono . RRP $659- $699 Item Condition: As new Reason for selling: no use Payment Method: Pickup - Cash, Paypal, COD Only Extra Info: Very Well reviewed headphones. Photos: Advertisements without photos of the actual item will not be approved.
  8. Item: Various Entreq - Energy Transforming Equipment Cables from Sweden - HIGH END Location: Perth Price: See below with donation to SNA and free postage AUS wide. Item Condition: Excellent Reason for selling: Cable Audit -some I will sell -some I will keep. These are my joint best with the all new Townshend Fractal cables so keeping those for a while. these are stunning though and beat my cardas clear to my ear. Payment Method: Pickup - Cash, Paypal, COD Only Extra Info: Will post Aus Wide. 2010 is not the year of manufacture it's part of the range name. 1) 1x Entreq Konstantin series 1 2010 xlr balanced cables 1 metre pair only $1600 New $4000 approx- Slight buzz first connection as they don't have a clip, they are all wooden and slip in., once seated they are perfecta nd apart of the ENTREQ design allegedly. NEW Entreq Konstantin Serie II Infinity XLR Signal Cable Pair New $2350 Uk Pounds or ex vat $1958 Pounds. $4423 Aus dollars or $3686 no vat. https://www.futureshop.co.uk/entreq-konstantin-serie-ii-xlr-signal-cable 2) Boxed 1 pair of 2.5 Metre Entreq Challenger series 1 Speaker Cables only $4200 New $10,000 approx Entreq Challenger Infinity Serie II 3V Speaker Cable Pair $6000 Uk Pounds or $5000 UK pounds ex VAT which is $11295 Aus dollars or minus Vat $9400 Aus Dollars https://www.futureshop.co.uk/entreq-challenger-serie-ii-3v-speaker-cable-pair Photos: Advertisements without photos of the actual item will not be approved. 1
  9. Item: Solid Maple Isolation Platforms x four units- 2 sold 2- left Location: Perth, WA. Price: $300 each ( firm, or $575 for 2 Item Condition: Brand New. Unused . Reason for selling: Raising Cash and changed to black versions. Payment Method: Pickup - Cash, Paypal, COD Only ,Courier at cost etc Extra Info: 455mm x 380mm x 45mm. Stunning Solid Maple. Has 4 Cone feet with cups to sit in. A beautiful piece of furniture in it's own right. Great for use under a Turntable or any other piece of hi-fi gear needing isolation, or with 2 could be used under a pair of speakers. Pick up only preferred at this stage, due to weight but can drop off to pack and send or pack up for you safely. Bought from Geoff P recently but have another isolation rack with more shelves am using. They are all solid really nice light maple. Stunning as a set. Photos: Advertisements without photos of the actual item will not be approved.
  10. Item: The Clearaudio Concerto Wood V2 mc cart Location:n Perth Price: Broke demoing so off to clear audio for a quote. Item Condition: Perfect Reason for selling: Sold turntable Payment Method: Pickup - Cash, Paypal, COD Only Extra Info: Very wicked cart. Cartridge --The Clearaudio Concerto Clearaudio has significantly improved our fully symmetrical MC design, first patented in 1980. We redesigned the generator in a revolutionary way by positioning and doubling the magnets (to 8 pcs.) so the coils are operating in a much stronger magnetic field. Furthermore we have chosen the strongest magnetic material available: super neodymium. Through these achievements, the efficiency has been raised by 30%, which results in an output of up to 0.9 mV at 5cm/sec. All models now utilize the improved V2 generator. The new Micro-HD Diamond tip provides a hybrid parabolic geometry with a stylus radii of 0.008mm x 0.040mm. The total mass (0.00016g) is a fifth of the previous diamond stylus. Cartridge body resonances, while tracking in the groove, are minimized through the twelve finger design of the mounting plate, each finger with a different radius. This is the result of our constant research and development. The cartridge bodies of our 5 models: Goldfinger, Titanium, da Vinci, Stradivari and Concerto are made out of the following: gold, titanium, ceramic coated aluminum, Ebony and Satinee wood. The generator construction of the new V2 moving coil cartridge generation is absolutely symmetrical: mechanically, magnetically and electrically, our unique design. All Clearaudio moving coils use our proven 24 ct. pure gold coils. All the design aspects of Goldfinger, Titanium and Stradivari are found in the Concerto V2: the entry-level into our New-Generation-Super class of moving coil cartridges. Both the satiné wood from which the body is made and its resonance-optimised shape contribute towards the excellent performance of the Concerto V2, the baby of the Clearaudio flagship range Clearaudio Concerto V2 MC Cartridge With a dynamic range of up to 70 decibels and a total weight of only seven grams, the mc concerto v2 qualifies itself for the top league of moving coil cartridges. Within this satin wood body the technology is outstanding, housing 24-carat gold coils and a patented eight-magnet array unique to our V2 range. Further champion-level ingredients are the boron cantilever and Micro HD stylus. A recipe to win the trophy of sound championship. Total weight: approx. 7.0 gram Output voltage: 0.6 mv at 5 cm/s Material/color: satinè wood with metal platter STYLUS SHAPE Micro HD COMPLIANCE 15/15 μ/mN REC. TRACKING FORCE 2.8 g REC. LOAD RESISTANCE 300 Ohm OUTPUT VOLTAGE 0.6 mV at 5 cm/s CARTRIDGE IMPEDANCE 50 Ohm CARTRIDGE BODY Satinè wood with metal platter TOTAL WEIGHT Approx. 7.0 gram
  11. Item: Goldmund Telos 390.5 integrated amplifier with built in DAC- SWISS Engineering at its best Location: Perth Price: $8500 ono (RRP ~ $30,000). inc sna donation and freight Aus Wide Item Condition: Excellent - near new. All original packaging and remote included. Reason for selling: Cash - excess Payment Method: Pickup - Cash, Paypal, COD Only Extra Info: This is a great amp, very good, stunning to look at and accurate and musical all at the same time, with an inbuilt dac and 7 inputs. Goldmund are the Bentleys of the stereo world . I have been experimenting alot over the last 6 months and I thought the Goldmund with my matching preamp was the ducks nuts, but I like a bit more power and so will replace with my gryphon power amp and look out for some Goldmund mono blocks. Comes with box, original remote and manual. The remote is one solid chunk of aluminium and feels great in the hand, accurate and quick. It's a magnificent high end one box hi-fi solution and compares extremely well to other amps in its price range. The onboard dac is of the highest quality and would be 5k or more on its own. RRP $30000 pick up a sonic one box solution today for an amazing price. I have no negatives apart from power output and that's impossible to ask for more from one box. Highly recommended. Specs added below: POWER SUPPLY Nominal line voltage: 117 or 234 V (switchable) Fuse 8A for 110V and 220V Input voltage range: +/- 10 % POWER Nominal power: 2 X 210W on 8 Ohms before clipping Maximum voltage: 55V peak These values are for both driven channels. ANALOG INPUTS 4 x RCA analog input (Left & Right) DIGITAL INPUTS 1 x Digital S/PDIF coaxial RCA 75 Ohms or Toslink Optical 1 x Digital S/PDIF coaxial RCA 75 1 x USB AUDIO REAR PANEL CONNECTORS AND CONTROLS 2 x output binding posts Left & Right 1 x USB Audio connector ON/OFF power switch key Voltage input selector RS232 Command connector FREQUENCY RESPONSE +/- 0.5 dB, 20 - 20 kHz Typical phase error between channels: < 0.5 degrees DISTORTION Measured with 20 Hz - 20kHz bandwidth and 80 kHz signal: Static: THD + N ratio <0.002% NOISE Signal-to noise ratio: > 120 dB at 0 dBFS OPERATING TEMPERATURE Room temperature: -30 to +40 degrees Celsius (-22 to +104 degrees Fahrenheit) Internal temperature: +45 to +65 degrees Celsius (+113 to +149 degrees Fahrenheit) DIMENSIONS AND WEIGHT 44 W x 43 D x 13 H (cm) Weight: 15 kg Photos: E
  12. Certainly is if you know how to find him. Closed the shop years ago. I have his details if you pm me. Cheers Adam
  13. Item: TAC- C60 (Tube Audio Company) high end Switchable Top mount tube / Solid State High-END CD player Location: Perth Price: $500 discount to only $2000 FIRM was $4700 US dollars. Very low use 200- 300 hours max. Item Condition: Excellent just serviced with new laser By Clifford D' Souza at Audio Synergy from which i purchased it and its ready for sale its perfect in tube or SS mode. Built like a tank. Laser perfect condition. metal remote. Stunning CD Player, tiny mark on front edge of Aluminium top plate in last picture. Reason for selling: To many cd players and raising funds across system. Payment Method: Pickup - Cash, Paypal, COD Only Post at buyers expense normal etc.. Extra Info: Description: Single-chassis, top-loading CD player. Fully balanced, hybrid circuitry with 8x oversampling and 24-bit/192kHz D/A conversion, tubed power supply, and user-selectable tubed or solid-state analog output stages. Tube complement: two 6922EH, one 6Z4. Inputs: none. Digital outputs: S/PDIF, 1 coaxial, 1 optical (TosLink). Analog outputs: 1 pair unbalanced (RCA), 1 pair balanced (XLR). Analog voltage output: variable, 2.5V maximum. Frequency response: 20Hz–20kHz, +0/–0.5dB. Signal/noise ratio: >90dB. THD: <0.003%. Dynamic range: >100dB. Channel separation: >90dB. Power consumption: 50W. Dimensions: 17.7" (450mm) W by 4.6" (118mm) H by 15.4" (395mm) D. Weight: 26.5 lbs (12kg) net, 28.6 lbs (13kg) shipping Read more at https://www.stereophile.com/content/vincent-audio-c-60-cd-player-specifications#OrJdeY26E5YgMlMt.99 Should an audio component accurately reproduce the signal it's fed, or should it evoke the sound and feel of live music? Accuracy or musicality? This question has been at the heart of high-end audio since its inception. Back then, the question often took the form of the tubes-vs-transistors debate. Proponents of solid-state pointed to the far superior measured performance of transistor designs, and claim that they thus more accurately reproduced the input signal. Tube lovers steadfastly maintained that their gear sounded better, more natural—more like music. Since then, both camps have eliminated the obvious colorations of their respective technologies, and the levels of performance of today's best tubed and solid-state gear have converged. At the same time, the circuits themselves have blurred into hybrids of various sorts, different mixes of devices and circuits. The Vincent C-60 CD player ($4695), designed in Germany but manufactured, I believe, in China, is a throwback to when there were large differences and clear battle lines between the tube and solid-state camps. Rather than a single optimized—or even hybrid—analog output stage, the C-60 gives the user a choice of two. Per US importer WS Distributing's website: "If you're in the mood for rich, romantic audio performance that brings analog complexity to compact discs, then bask in the vacuum tube output stage. But if you want a bit more edge to your music, you can simply switch to transistor output instead by clicking the C-60's front panel switch." Description The Vincent Audio C-60 is a thoroughly modern take on the tube-transistor hybrid design that reflects the best of today's concepts. For example, physical and electrical isolation were a major consideration, so the C-60 actually consists of four isolated subchassis, each floated off a common backbone. Front and center is the top-loading disc transport, made by Philips. Just behind this, a second subchassis houses the power supply for the digital circuits. A full-depth subchassis on the left houses the main power-supply elements, two huge toroidal transformers, and, on a small board, the output stage supply. The latter is itself a hybrid design incorporating both solid-state elements and a 6Z4 rectifier tube. On the right, another full-depth subchassis supports the fully balanced audio circuits, including digital-to-analog converters based on Burr-Brown's PCM1792 24-bit/192kHz chip, as well as the tubed and solid-state output stages. Other, smaller boards handle such ancillary duties as the control buttons and the front-panel display. The C-60 is nicely styled and built, with a handsome, solid chassis that incorporates into its exterior design such functional elements as a beefy aluminum top plate, a thick, smooth-sliding disc drawer, and oversized tower feet. The top plate incorporates buttons for the drive control functions, two mesh-covered windows that show off the tubes, and a nifty, countersunk logo plate of glass that can be illuminated by flipping a small rear-panel switch. The rear panel has both balanced (XLR) and unbalanced (RCA) analog outputs, coaxial and optical (TosLink) digital outputs, and a standard IEC receptacle for a removable power cord. On the front are a large, well-lit display and two more buttons, one for power and the other to switch between the tubed and solid-state output stages. There's also a small, rubber-surfaced magnetic clamp to hold the CD in place. image: https://www.stereophile.com/images/511vincent.bac.jpg The C-60 uses a Philips top-loader transport; opening or closing the cover stops or starts the playing process—or at least that's how it's supposed to work. Not infrequently, the C-60 would refuse to acknowledge that there was, in fact, a disc in its transport. The C-60 eventually did play every disc I threw at it, but something about its drive or error-correction circuitry was finicky. Often, discs that would play perfectly in a half-dozen other players needed a fresh, more careful cleaning and polishing before the Vincent would read them. But other than that occasionally finicky drive, the Vincent was completely intuitive to operate, and proved bulletproof over several months of heavy use. Listening The months the C-60 spent in my system overlapped with the visits of a number of other review products. Although the C-60 did have a recognizable sonic signature—actually, more than one, as I'll discuss in a moment—its performance was easy to incorporate into my reference system. I never felt I was degrading the system's performance or changing its fundamental character by using the C-60 as a source. In fact, the ability to switch between the player's two different-sounding output stages proved a benefit as I tweaked the system around other components I was reviewing. I did play with the volume control some, including driving my amplifiers directly. The control's range was such, however, that I could only use the first one or two "clicks," so I ended up using the Vincent with the volume control set to its maximum. Tubes or transistors? I've always been a tube kind of guy, so I expected to prefer the sound of the Vincent's tubed output stage. That proved to be the case, so that's the configuration I'll discuss. The differences between the two output stages weren't huge, though, so most of the comments below apply equally to both. Glowing tubes, glowing praise As Steve Guttenberg pointed out in "Being There," his "As We See It" in the November 2010 issue, audio systems tend to better approximate the feel of live music with recordings of smaller-scale performances, where they don't have to cope with the huge and complex dynamics, or the sheer size of an orchestra and concert hall. Indeed, with such recordings as Warren Zevon's solo Learning to Flinch (CD, Giant 24493-2) and Rickie Lee Jones' Naked Songs (CD, Reprise 45950-2), the Vincent C-60 did a stellar job of capturing the live feel of these intimate concert performances. The Vincent's superb resolution of low-level detail was a big part of how it re-created this live feel, and one way that it distinguished itself from most other CD players I've heard. Many CD players, even some of the very best, struggle at the very softest end of the volume spectrum, losing the finest, lowest level of detail in a digital silence that feels a bit electromechanical. With the Vincent, those tiny details were there, distinctly drawn yet coherent, with a realistic surrounding ambience, just as they are with a top-flight analog front end—or a live performance. Even more unusual among CD players, and even more impressive, was the C-60's ability to resolve and distinctly render these low-level details beneath and behind much louder voices and instruments. Track 1 of the Zevon disc, "Splendid Isolation," was a great example of this. Zevon's 12-string Ovation guitar was miked much more closely than his voice, so there is relatively little ambience information around the guitar. All spatial cues and information about the audience and venue are superimposed on the vocal track. The guitar is also balanced very high in the mix, so with most CD players I've heard, the volume and sheer presence of his guitar overpowers all the spatial and ambience information, leaving no clear picture of the stage or venue. image: https://www.stereophile.com/images/511vincent.rem.jpg The Vincent beautifully sorted out all of this. The guitar chops rang brightly, with the power and energy that the instrument has live, and all of the instrument's complex harmonics and body resonances were rich and distinct. At the same time, Zevon's gruff, hoarse voice, while lower in level, was perfectly reproduced, and the way it spread out and filled the space painted clear pictures of the different recording venues. The ability to re-create three-dimensional images and soundstages was a consistent strength of the C-60. With smaller venues, such as on the Zevon and Jones discs, I could close my eyes and be there, in the audience. Jones' "Chuck E.'s in Love"—or, more correctly, the audience's applause, laughing, and whoops during the song—were goose-bump moments. The combination of Jones' voice and Rob Wasserman's double bass drawing the stage, and the audience defining the venue, described the space so precisely that I felt the hairs on the back of my neck rise with the electricity and excitement in the air. And with works of larger scale—some of my favorite opera and orchestral recordings, for example—I felt as if I could stand up and walk around the hall and out onto the stage, among the performers. The Vincent's reproduction of multimiked studio recordings was superb as well, and again, felt more analog than digital. Regardless of the mix, it created solid, well-defined, three-dimensional images that were precisely located in a soundstage, albeit an often artificial one. Also, the C-60 consistently captured the harmonic richness and complexity of instruments and voices, and beautifully reproduced the fine, inner detail that distinguishes individual voices in a chorus, or individual violins in a large orchestral section. Trio II, a collaborative album by Emmylou Harris, Linda Ronstadt, and Dolly Parton (CD, Asylum 62275-2), had never really impressed me through other players, but I absolutely loved it through the Vincent. Listening to "High Sierra," I noticed how realistic the voices sounded, and how "right" it felt when the three merged during the choruses. John Coltrane's classic 1958 recording with the Red Garland Trio, Settin' the Pace (CD, JVC XRCD2 0207-2), really showcased the C-60's strengths. Arthur Taylor's faint cymbal strokes at the opening of "I See Your Face Before Me" had a gorgeous mix of ringing, overtones, and metallic swish, and faded perfectly into the surrounding space. Coltrane's tenor sax reminded me anew of how masterfully he simultaneously worked every aspect of the instrument, getting a level of expression that far transcended other, even virtuoso, players' work. Throughout the recording, I was impressed with the level of natural, organic detail in each of the instruments, but I kept coming back to Taylor's brushed cymbals and how perfectly the succeeding waves of sound cascaded over each other, each with exactly the right mix of a bell-like ring decomposing into a bright, metallic hiss. Dynamic transients through the Vincent were satisfyingly large, if not unusually so. Smaller works again fared best, with the guitars on Learning to Flinch and Naked Songs being great examples, both having a good portion of the power and presence they do live. Both the leading and trailing edges of sharp transitions were always crisp and clean, and the C-60 did a great job of reproducing the pace and flow of a performance. This latter characteristic was especially evident on temporally complex works, such as much of Settin' the Pace, where dramatically different lines need to mesh for the piece to work. Each player, heard on his own, seemed to be using different timing and chord structures, yet from a step farther away—and through the C-60—they all came together as a coherent whole. All of the these strengths were evident on large-scale performances as well, even if the overall illusion wasn't quite as realistic. Performances don't get much larger than Fritz Reiner and the Chicago Symphony's of Sunrise, from Strauss's Also sprach Zarathustra (CD, RCA Living Stereo 61494-2); while the Vincent didn't re-create the CSO and Orchestra Hall in my listening room, it certainly captured enough of the thunder and bombast to take my breath away! This isn't to imply that the C-60's soundstage was smaller than those of other source components. To the contrary, the Vincent's soundstage was consistently large, extending well outside the speakers, projecting slightly in front of them, and creating whatever depth had been coded into the bits and bytes. Images were always appropriately sized, and I never felt that the Vincent was expanding or limiting the scale of the players or stage. In fact, the C-60's knack for reproducing fine detail behind louder, more prominent lines worked well with recordings of a soloist and orchestra. Listening to Jascha Heifetz's performance of the Allegro vivacissimo of Tchaikovsky's Violin Concerto, with Reiner/CSO (CD, RCA Living Stereo 61495-2), I noted how clearly and consistently the orchestra was portrayed, even behind Heifetz's most forceful and dramatic passages. Even the faintest horn lines from the very rear of the stage were lifelike, and very obviously the work of a group of individual players. Solid state, solid performance That Heifetz recording is a good place to switch gears and compare the C-60's tubed and solid-state output stages. I loved listening to the Tchaikovsky concerto through the tubed stage, but its tonal balance was a bit on the warm side of neutrality. Heiftez's violin sounded a little bigger, almost viola-like at times, and even the brass and woodwinds were a little sweeter and more golden than reality. This extra lushness and warmth was even more evident with another classic RCA, Gregor Piatigorsky's recording of Dvorak's Cello Concerto with Charles Munch and the Boston Symphony (CD, JVX XRCD13): the cello had a slightly deeper, richer body tone than the instrument has when heard live. In both cases—in fact, across the board in my listening sessions—I preferred the sound of the Vincent's tubed output stage, but had to admit that the solid-state stage sounded more accurate and more tonally neutral. Coltrane's tenor was a little sweeter through the tubes, for example, but its honk didn't have quite enough edge or bite to be realistic. The same was true for women's voices; they were richer and sweeter through tubes, but their initial transients had a more realistic bite through transistors. The solid-state output stage also had a little more bottom-end punch than the tubed stage, and notes stopped and started with a bit more precision and authority with the transistors. Conversely, individual instruments were more distinct through tubes, with a better sense of a resonating, wooden instrument following the initial transient. In the Dvor†k concerto, for example, it was a little easier to sort out the bass drum, timpani, and sharp double-bass notes through the tubes, but the lines sounded quicker and had a bit more impact via solid-state. On top, the transistor stage might have been more extended, but didn't have quite the harmonic richness of the tubes. For example, the brushed cymbals on "I See Your Face Before Me," from Settin' the Pace, were largely a metallic hiss, without a distinct ring at their core. The two output stages also handled detail differently. Spatial detail, for example, was more precise and more sharply defined through the transistors. On the other hand, the tubed section did a better job of capturing the subtleties and complexities within an instrument's tone or voice. The tubes also did a much better job with the lowest-level information, the point where a note finally disappears into the surrounding space. Combined with the tubes' slightly better re-creation of low-level ambient information, the way notes faded out felt much more real, the instruments and singers more three-dimensional. The transistor output stage matched, or perhaps even slightly bettered, the tube stage's large, open soundstage. When I dissected the sound and concentrated on audiophile criteria, I noted that images were more sharply defined with the transistors, with more open space between them. But when I listened to the overall performance—to the music itself—sonic images interacted with the surrounding space in a way that felt more natural through the tubes, and I found it much easier to close my eyes and imagine the hall or club in front of me. Accuracy or musicality—40 years later and we still have to choose? Comparing the C-60's solid-state and tubed output stages was a fascinating exercise. Both were excellent, but while the differences between them weren't huge, they were profound. In most cases, I felt the transistor configuration was more accurate, and would have fared better on an audiophile scorecard. At the same time, I found the tubed section to be more musical, more evocative of the original performance, despite its more obvious colorations. The solid-state section of the Vincent C-60 is an excellent performer, and I can imagine many listeners preferring its more neutral sound—its leaner tonal balance, sharper transients, and tighter, more powerful bass. It's well designed and beautifully built, and completely in line with the competition at $4695. The C-60's solid-state section didn't quite match the resolution, or the overall flow and clarity, of far more expensive, super-premium solid-state players such as the Simaudio Moon Evolution Andromeda ($12,500), but it handily outperformed really good midpriced players like my Primare CD-31 ($2500). Thirty-some years ago, I chose musicality over accuracy and traded my solid-state Audio Research D-120 amplifier for a tubed Audio Research D-76A. Night after night, I made the same choice with the Vincent. The solid-state configuration was good, but with its tubed output stage in circuit, the C-60 transcended the performance of the similarly priced players I've heard. In many ways, it sidestepped the limitations of "Red Book" CD performance, sounding more like a good analog rig—or, better yet, and sometimes more like a live performance. Its tonal balance was probably a little warmer and sweeter than reality, but instruments and voices had an uncannily lifelike energy and presence. Players, singers, and the space around them were re-created in a way that just felt a bit more real than through the transistor stage, or through most other CD players. With the tubed stage, it was as if the Vincent were vanishing and taking the rest of my system with it, letting me hear back through the recording chain to the original performance or session. Was it completely accurate? Maybe not. Did it evoke live music? Absolutely! Read more at https://www.stereophile.com/content/vincent-audio-c-60-cd-player#HIQ3l0oQvjszR2xj.99
  14. Item: As new Primare Sp33 7 channel processor ( power amp sold) Location: Perth Price: $2250 $rrrp 7000 each new - power amp sold, pre $2250 ono and stereo net donation. Item Condition :Very good. Reason for selling: Don't use surround sound ever. Payment Method: Pickup - Cash, Paypal, COD Only Extra Info: Multi award winning audiophile standard surround sound hifi audio system. Sound to die for from this very well know swedish brand, add the matching cd/ blu ray and you have a extremely capable audiophile quality pre amp and power amp. The Primare SP33 takes audiophile surround sound processing to a new level, eschewing many of the bells and whistles its competitors cramp into a single chassis, Primare instead focus solely on outright sound quality. Employing class leading DAC stages and analogue output stages, Primare have brought to bear all of their audio engineering expertise to bring the sort of refinement and sound quality only associated with two channel hi-fi systems,to the multi-channel and home cinema user. Reference AV say: “ Having demoed the SP series in our Reference cinema system, we were left gobsmacked by the pure sound quality this processor could achieve for its relatively affordable price point. It is without doubt a class leader. ” https://www.primare.net/wp-content/uploads/2017/06/SP33-A30.7-i-fidelity-1.pdf Primare SP33 4KVM AV Preamplifier Featuring the new 4KVM 4K UHD video module, with six HDMI inputs and two HDMI outputs, together with a wide range of analogue and digital audio connections, the SP33 gives you the power of fingertip control over all your home entertainment sources, including disc players, DACs, TV boxes and gaming consoles. And with versatility and convenience comes the superb audiopheryile performance of a Primare 30 series design. sp33_1.png With a comprehensive array of digital and analogue connections: low-noise balanced audio inputs and outputs, HDMI inputs and outputs, a Zone 2 output for performance in a second room, and IR and RS232 connections for the highest possible automation flexibility, the SP33 will integrate easily with any high quality installation. It gives you the opportunity for powerful custom configuration in your home environment, allowing you to personalize operation and to optimise the performance of your system. Almost every parameter can be user defined using new onscreen menus and the C24 remote supplied. Assign a name to any input and associate it with any audio and video source. Surround format, trigger activation and input sensitivity may be specified for each input, and surround formats - including Dolby TrueHD or DTS-HD Master Audio - custom-set for level, speaker type, crossover frequency, delay and bass configuration. In addition, a 250mS global delay system with dedicated DSP is incorporated in order to achieve the best possible picture-to-sound synchronisation. The SP33’s new 4KVM video circuitry features 4K and 3D video pass-through, with matrix switching for six HDMI inputs and two ARC assignable HDMI outputs for perfect performance from a choice of two displays. In the SP33 you’ll own a finely engineered, easy-to-use audio and video design, complete with excellent system expansion flexibility and the promise of astonishing sound and picture resolution for years to come. Match the SP33 with the Primare A30.7 UFPD power amplifier and BD32 MKII universal player for the ultimate statement of home entertainment luxury from Primare. Please note: the 4KVM video module was developed primarily to partner our upscaling to 4K universal disc player BD32 MKII. The 4KVM design was initiated before the release of HDMI 2.0a specifications. Those specifications demand a higher clock speed necessary for HDR switching than the chip in the 4KVM is able to provide. As a result, 4KVM will work with most, if not all, sources that allow for turning HDR off and with only minor limitations on playback specifications as seen below: - 24Hz 4:4:4 4096 x 2160 DCI - 24/25/30Hz 4:4:4 3840 x 2160 4K UHD - 50/60Hz 4:2:0 3840 x 2160 4K UHD If HDR is a system necessity, or for best possible video performance, we recommend a dual connection scheme for the 4K UHD HDR source: HDMI 1 video output connected to the display; HDMI 2 audio output connected to the processor. Multi-channel AV preamplifier Primare SP33 HDMI ins/outs: 5/2 Analogue ins/outs (RCA): Analogue ins/outs (XLR): Optical digital ins/outs: 3/1 Coaxial digital ins/outs: 3/1 AES/EBU digital ins/outs: 1/- Zone outputs: analogue/digital: 1/- IR flasher input: 1 RS-232C: 1 Trigger outputs (3.5 mm mini jack): 3 Dimensions(WxHxD): 43x18x39cm (16.9 x 7.1 x 15.4 in.) Weight: 12 kg (26.5 lbs) Price: 4.900 EUR Warranty: 2 years Multi-channel AV amplifier Primare A30.7 Analogue inputs (RCA): 7 Analogue inputs (XLR): 7 RS-232C: 1 Trigger inputs (3.5 mm mini jack): Trigger outputs (3.5 mm mini jack): Dimensions(WxHxD): 43x15x40cm (16.9 x 5.9 x 15.7 in.) Weight: 13 kg (28.7 lbs) Preis: 3.000 EUR Warranty: 2 years
  15. ITEM: Bakoon Battery powered EQA-11R Phono Preamplifier with Original Stand and Cardas Satri Link interconnects Location: Perth Price: $1750 firm including shipping including SNA donation ---Phono current Current RRP in the USA is $4495 US a Item Condition: Excellent Reason for selling: NLR Payment Method: Pickup - Cash, Paypal, COD Only Extra Info: Bought here on Stereo net last week to try and something else came up so jumped on that as well. Matching two box amp is on here for sale currently as well, perfect time together the full analogue system sound for a bargain. Too many toys now. Its stunning though and if you want a minimal looking system this is the phon stage for you. Totally awesome package, so heavy and dense in a sublimely built miniature package. Wonderful phono stage battery and mains power, enjoy your vinyl without any electrical influence. From Previous owner. Phono stage I have enjoyed it very much, a very sweet open sound, battery operated and suited to match low output MC cartridges. This is a genuine 11R, I checked the serial number with Bakoon to verify that it was an R (as in reference version). I also have the Cardas Satri link interconnects that I will include which is especially handy for anyone who has a Bakoon amp to connect to. I have all the original packaging and manuals so shipping is possible. http://stereodesk.co...</span>-eqa-11r http://www.monoandst...er-eqa-12r.html
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