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Grant Slack

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About Grant Slack

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    Adelaide
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    Australia

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  1. Thanks Evan, a fascinating story! I, too, know what it is to do too much research.... ;) cheers
  2. I would be too worried about finishing the music with the same teeth as when I started.
  3. Welcome to SNA, Evan! You obviously have excellent taste! But may I ask how you came to narrow down your choice so much? cheers Grant
  4. Hello Tony, I don't really understand what I am looking at. Care to share a few details please? Regards, Grant
  5. Can we have a sub-thread for Spectacular Speaker Spin? Kidding...
  6. I can't help smiling, guys, when I read blurb that spins as hard as Voxativ's. The first line is a cracker. Then it gets worse! cheers Grant
  7. Hello Stump, I would be hugely disappointed if I bought an Esoteric and found it had less than exemplary longevity and reliability. cheers Grant
  8. Hello Dave o, I thought the DragonFly does not need digital cabling? cheers Grant
  9. "for vinyl", haha, I wish I had seen that! I bought it years ago, so I don't recall which type. It is 12mm thick, if that helps, and looks like a 'CLD sandwich' of soft white in the middle and hard grey on top and bottom. I am using two 100mm squares under each turntable foot, i.e. double thickness. But honestly, I haven't tried different types, or tried different application methods, so I am no help in that regard. cheers Grant
  10. Hi guys If I may respond to various bits and pieces of this thread, and to no-one in particular, other than the thread-starter. Squash balls come in 40, 45 and 60mm, but it's safe to assume 40mm is the general purpose ball. Squash ball dots come in blue, red, yellow and double yellow, in order of increasing energy absorption. Unfortunately, squash balls are deliberately designed to change their energy absorption with temperature, which is the opposite of desirable under a turntable. But with good climate control in your listening room, plus patient vibration measurements with the various ball colours under your TT, you could find the right 'dot' for your needs and stick to it. Stone is inherently not a good material for a turntable support. Slate is absolutely terrible, and its good reputation as a turntable support is a 'ringing' endorsement of the power of suggestion and groupthink. The idea, that metamorphosed mud behaves like mud, fails logic in the same way as the idea that diamond behaves like wood. I once saw some patient measurements of the damping of many materials, including a number of stones, and slate was one of the biggest ringers. Of course, there is no accounting for actually liking the effect of adding resonances to one's hifi. That is, as they say, a matter of taste. But, if you are interested in resonance control, slate is the opposite of what you need. Same for stone in general. Personally, I think that the engineering principles are much better applied if you mount your TTs directly on an anti-vibration material, and that goes directly on your shelf. A custom-designed anti-vibration material, like Angelstep that I use, is going to be much more consistent than squash balls, in various room temperatures, and in situations like sunshine coming through a window onto the TT at certain times. The supporting shelf and its characteristics will then be isolated from the TT, and its materials become much less important, as long as it is basically steady and level. Remember that, if Rega's Roy Gandy is right (and no doubt he used measurements to get these numbers), then the structure-borne vibrations are 40 dB below the air-borne vibrations impacting a TT, unless you literally stand the TT on the same springy floorboards as the speakers. So, as long as the fundamentals are not ignored, the modern trend to emphasize very heavy supports and, even, active isolation platforms, is unnecessary. Much bigger gains will come from moving the TT into another room, or putting it in a sound-isolation box, like the noisy old dot-matrix printers used to have in offices. Whether they are willing to do this is the "test of truth" for many TT owners, where they are forced to decide if they are willing to sacrifice convenience and visual appearances for sonic gains. In my experience, the majority can't pass this test. 😊 cheers Grant
  11. Hello ufo, there couldn't be a better time to "settle for reasonable", in both size and price. Loudspeakers, especially, have reached the point where flat frequency response and smooth beamwidth transitions are available at very reasonable prices, if one chooses well. Amplifiers and digital sources have long ago reached the point of sufficiency. Mentally, also, one needs to "settle" by adopting a mindset that 'lets go' of a few treasured audiophile maxims, including brand worship, there's no substitute for size, analog rules, garbage-in-garbage-out front-end emphasis, and you get what you pay for. At best -- at the very best -- these are all highly debatable today, and indeed, a strictly rational, show-me-the-valid-evidence attitude could lead one to discard them all. How reasonable, one may ask, can reasonable get, without resorting to headphones? Digital source of choice 5" active standmounts with near-flat FR and smooth DI (e.g. JBL 705P, KEF LS50 Wireless) 12" sub with inbuilt EQ (e.g. Elac S12EQ $1300) If that doesn't give reasonable sound that the ready-to-settle audiophile could be very happy with, then I'll go he. Regards Grant
  12. Hello Georges, engineering will have a lot to do with the measured results you ask for, perhaps more than the generic type of motor itself. Also engineering of the motor controller, and engineering of the power supplies -- of motor and of controller. regards Grant
  13. Hello Spyder, I suspect that the "most ideal type of motor" will depend on the operating principles that the TT designer chooses for a particular design:- heavy vs light platter sprung vs unsprung system resistance-type vs free-spinning bearing No one motor type is ideal for all these design decisions. Regards Grant Slack
  14. Thanks Mike, good comments all round. I hadn't thought about when the subs are further away than the mains! Two major differences. Recording rooms vary in size up to 'non-small' performance spaces for orchestral recordings. The large ones behave quite unlike a home and need very different treatments. The small ones, along with mixing rooms, are made very anechoic in a way that no home should be -- according to Toole, AFAICT. I am pretty sure I have seen Toole, either in video or text, say that acoustic consultants as a group have a knowledge and a toolkit that is not right for homes, and are not well versed in the needs of homes. Which is implying that the principles vary. However, if someone asks for that statement, I don't think I know where to look. My apologies. regards Grant
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