Audio Hobby Thoughts, Philosophy & System Description
Current Room Anchors - Room 1 and 2 active
Room 1 - Matrix 800's anchors - for creating that ..........Maxell Tape Effect.
Room 2 - (Adjacent to Room 1) - Quad 57 + two Dynaudio BM12s subs - Midrange reference
Room 3 - Acoustat Model 3 - Modded - upstairs - For imaging larger than life (literally speaking) - see last picture. Unfortunately is next to my wifes TV room. So it gets limited use.
Stored - B&W Electrostatic DM70c Continental - Wife calls them the washing machines. John Bowers called them his favorite speaker. Very interesting and very rare. Could anchor a room but they need special placement and lots of room. ESL portion needs to be 100% functional and at ear level or they will sound soft.
Room 2 is mostly digital, guests, and used for trialing used unplayed records before they make the queue for room 1. Room 1 has been called by my family as Dads Hole. I prefer panic room as it helped to raise my kids and stay married...so far.
Psychology Part
Music is critical to ones health and well being. I went through a couple stretches in life due to events without it and the results were not good. The goal for me to get lost in the music and have it transport me to that special place. Now whether you get there by a typical 2 channel home stereo with speakers, headphones, or other means is not important. Getting there is the important part.
Audiophile not.....
Have always been the type that if I frequent a room enough, a system usually ends up in there. My wife finally put an end to this, and allows me to do what I want in the full basement of our house.....so..... In this described virtual system, I have had Room A since 1994. Adjacent Room B is in the process of being finished, but I have been using it for listening for a few years now adding in room treatments as needed.
History
Like many others, have been at this audio hobby since I was about 13 when I was consciously aware of the gear versus the actual music relationship. I am now 55 and currently with two adjacent music rooms setup with different gear. Both rooms can do full orchestra symphonies with large dynamic swings. Getting Room B with the Quad 57's to do this was a challenge; but I was able to get it to work with the right amps and powered subs. The Quads require a very different room acoustic setup over the Matrix 800's in Room A.
I am a pure amateur, audiophile, music lover, past trombone player, and have never been part of the Audio Business as a manufacturer, dealer, distributor, or have any special interest relationships with any of these people. I consider myself a full time music lover, and part time audiophile; although I have friends that could argue this point. I have tried to upload pics and information here, that give a flavor of some of my audio journeys, and associated bouts of Audiophilia Nervosa. :^)
"Audio Heaven, is for Music Lovers - Audiophiles are never happy.
With that, in the real, authentic, Heaven; there is room, even for Audiophiles"
8^0
Living in the country
Having moved away from the city core in the 90's, I have found that audiophiles away from the cities, are in general, scare to find and or keep to themselves. Many of my audio friends are now remote, due to the distance between us; so only virtual communications are possible most of the time.
The negative aspects of Isolation aside; one good aspect of living in the country is the clean power and lack of noise and vibrations caused by traffic, trucks, etc...Once experienced and its effect on your listening, you become very aware of the multitude of audiophile products available as band aids, to cover, veil, but never eliminate these artifacts in densely populated areas.
I was born in the 60's so I grew up with Classic Rock, Beatles, etc... But I love all music, new music and Opera hits home with me. I played trombone in Jr and High school so the Bass Clef has a bias with me. Listen more now to the ladies crooning at me, Classical and Jazz with occasional Classical Rock; I think a well recorded full Orchestra Symphony with huge Dynamic swings has the most magic for me.
***** MAIN ROOM aka Panic Room, Dad's Hole, ....*****
I have had Room A since 1994. It has 3 dedicated lines 20, 20 , 15. This room is personal use. Room B is more for entertaining and spending time with friends.
Room A is much better insulated and isolated from my wife. As much as I would like to move the Matrix 800's to the larger Room B space to try them, it would probably just get me that much more trouble.
Room A and B are both located on a concrete poured floor. A has a an underpad and flat carpet on top. Spikes from gear stands and speakers are able to penetrate to the concrete with no problem ensuring a solid mechanical connection. The speakers are located 6 feet from the front wall with the room being 24 ft in length. Putting in the 800's over the 801's meant that some of the room treatments were able to be removed due to the 800's double woofers high and low. This is also one of the reasons I call them very room friendly.
1/4 inch 2 track machine. The three pictures attached. Top Left - known as two turntables. my machine being worked on Middle pic - 807 Top Right Pic. A picture of Roger Ginsley with a 48 track machine he is about to split into two 24 tracks. My Studer 807 is calibrated by him. He is also the one that makes the interconnects I use with it.
JC Verdier La Platine Vintage Granito Original Design
2012
http://www.jcverdier.com/ADSL/platineVintage.html
Just a delight to use. With its presentation, sends the message home that it is all amount the music. Effortless, seamless, but experience is needed is setting up the thread. A real Goldilocks scenario of the thread being too loose, too tight or just right. Different thread tensions alternate how the motor and platter work together and change the speed. The objective is to get the correct speed with as little effect from the motor. ....
Original design. Granito Model My version uses a motor only equipped for thread Granito base and solid aluminum billet armpod. The later newer motors are equipped now for belts too - but no one runs them this way that I know of. This decision was made imo to generate more sales as it is easier to setup. But imo the belt grip would play havoc with the motor / magnets marriage which was designed for thread. I would think that belt stretch and its physical changes with temp and humidity changes would also cause problems, and interfere with the natural braking action of the magnets. This is my opinion as mine is thread only. There is a greater learning curve involved with thread.
This is the only turntable I am aware of whose platter design includes both acceleration (inertia) and braking (natural forces from same pole magnets) to deal with the records behavior - going from soft to heavily modulated grooves. The motor design, like a marriage with the platter. Think of the childhood merry go rounds that once up to speed - even a little girl could keep them going. To understand how the motor and platter are like a marriage, one need only turn the motor off and the platter spins for 30 seconds with the thread attached. However cut the thread while the platter is turning, and the platter stops much quicker as the two magnets demonstrate their braking capability. Impressive to me is just the plain simplicity of design using physics to get the job done with a piece of string and magnets. I found it important in setup to have the thread positioned in a way that is the least intrusive on the platter; so as to allow the platter to not only do its job as designed; but to also provide the needed jolts as required from the motor to maintain speed stability.
In my opinion - you will know when you have set it up properly because you are able to turn the motor off and on and also deflect the thread with your finger - as the records plays - and not affect the music delivery to your ears. I base this when compared directly to 15 IPS Master Tape dubs. In testing for accuracy I run both simultaneously with one lagging 10 seconds behind the other and switch between the two - compensating for gain as tape is a high level signal. When the thread is setup in this fashion there is minimal stress put on it. The current silk thread I am using has recently passed the one year mark. Overall Big Sound from a small piece of thread.
Some facts Magnetic bearing design. Brass colored rings are big shielded permanent magnets; same magnet poles repelling each other. The result is "levitation" the space you see between them. No thrust bearing involved. A central spindle bathed in a special oil keeps them aligned. For me personally I did not know what TT bearing noise sounded like until I heard music on a TT without a physical bearing. The plinth is made of Granito. Granito is not real granite but a non-resonant material that looks and feels like granite. A limited edition model.
"Granito is a material composed by little pieces of marble of very different origin agglomerated inside a mold with cement. Machined and polished. The resonance of the plinth with its suspension is about 5Hz and it is well absorbed by the air cavities."
Mr. JC Verdier Note: Newer Platines are provided with a setup bearing. The manual is very clear on the setup bearing. It is just that - a setup tool only. COUNTERFEIT PLATINES Unfortunately there are non-authentic tables out there worldwide from 20 different counterfeiting makers. These tables are out there with people using them. If anyone is unaware of this, see the Platine Information on the JC Verdier website for more info.
The only advice I can give is when buying a Verdier Platine you should be careful to ensure it is a real Platine, especially if buying privately. If you already have one and have doubts, check with an authorized dealer or J.C. Verdier company in France to ensure it is authentic.
Custom Eminent Technology Model 2.5 for MC Carts
This is a custom build ET 2.5 Tonearm from Bruce Thigpen - A 19 PSI design.I am using the new Long I Beam. Weights are reduced by half and therefore the vertical inertia is higher - a goal of the design. The Aluminum Gooseneck was sourced from NZ. It was through Richard Krebs also an ET2 owner. I am using Single Shot WBT wiring, Aluminum mount plate. Magnesium armtube. Double Leaf Spring and damping trough. If you are an ET2 owner you know what I am talking about :^).... Advantages of the ET2 airbearing linear tracker tonearm - no VTF changes with VTA adjustment, no offset setup, antiskating and immunity to acoustic feedback, as it rides on film of air.
One shot wire. Run at 19 PSI. Damping trough with 1 cc of Oil. Lead weights at the very end of the I Beam.
VTA on the fly while the record plays and it doesn't change any parameters (VTF) like all other tonearms do. This is due to a patented VTA on the fly system. Have you ever noticed how with same thickness records....some can sound brighter, some bloated and some just right? When they press the records the different plants can have different standards. Records are then cut with varying angles.. even same thickness ones.
See ET2 Bass Management Below
Tonearm Wiring Loom - One shot WBT NextGen
2011 One shot wiring loom for the ET 2.5. WBT 0102 CU connectors. The design of the ET2 (2.5) allows for this wiring to be changed out in about 10 minutes. Silver and copper can be experimented with.
The PUMP ET2
Life Support for the ET2's. Timeter 3000 Medical Industrial Pump. The most important part of the ET2 arms setup. Industrial commercial grade medical pump. Its actually a patient respirator.
These have an hours counter and come up for sale cheaply on ebay. If you have space in your basement somewhere they are turnkey once set up.
I have tried large aquarium pumps, smaller medical pumps, compressors.
This Timeter Medical 50 psi pump has been customized to allow me to regulate air pressure coming out and send 19 psi to the ET2 tonearms. Another regulator with gauge at the arm allows me to accurately adjust for the PSI coming into the arm. Located in another room -cannot be heard in sound room when running.
The smoothness of air delivery is excellent. No resonance. The pump dumps/expels moisture like a car's AC. Have never seen a drop in the moisture collector; other than one incident when the pump outlet clogged with minerals from the moisture. I now soak the pump outlet in CLR for 2 hours every two months.
ET2 In Room Air Regulator & Filter
2nd Regulator and Filter on wall near the ET arm. Confirms and controls the 19 psi and also filters out moisture in line. Have never seen any moisture in this filter. This device lets me change the pressure going to the arm by just turning the top mounted knob. This regulator is mobile. It can be placed in my lap while the music is playing and pressure adjusted to hear how it affects the music delivery.
Audio Research DAC8
From a DAC only function perspective identical to the ARC REF DAC except the output stage is tubed on the REF. Interesting read. :^)
Owned many many years. Modded power supply box. Variable Gain for dealing with hot, and compressed source material - Digital and Analog. On the fly cartridge impedance loading. Used in ARC's hotrod mode. Direct output and bypass switch engaged. Amperex Bugle Boys.
Matrix 800
Unique one time all assault effort from B&W at a time when 2 channel was the focus. Smooth, musical yet still detailed. Room Friendly if you can believe it. Imagine 4 subs two high and two low pointed at you for 2 channel music. Each driver 2 woofer, mids, tweeter have their own crossover easily accessible from the back.
They were a 2 1/2 year study from Bowers & Wilkins under John Bowers (RIP). I have looked for a long time for a pair. The only time they become available are through owners going to a smaller condo (retiring or divorce).
All B&W 800 models that followed the Matrix series are the same only in model designation - 800. They are not a replacement or upgrade. They are a different build, design, objectives, sound. Post Matrix 800's are a smaller speaker system (require a sub for full range); they do have better WAF (more easily placed into a shared room with the wife)
800 matrix can be played at low and high levels with the right amp. 93db 2.83 volts/1m, Mine are Quad wired. They can be run on four separate amps if one desires as each driver has its own crossover.
Top and bottom woofers each excite a different set of waves. These waves cancel each other out. Thats the theory. My listening supports this. Smooth tight bass. It is quite something to experience since their size make you think they will over take the room. Also IMO each woofer works only half as much with four versus two for the desired SPL. All of this results in a very flexible listening position. All drivers are physically isolated with separate crossovers and Van Den Hul silver wiring from the factory. I run them with both tubes and Solid State. Krell and the modded Music Reference RM9.
Krell Amplifier Story My research found me talking with Dan D'Agostino who used matrix 800's as his reference speakers when he designed this era of Krell amps. Specifically the FPB series like my FPB600. On a dedicated 20 amp circuit with upgraded 20 amp power cord using Furutech Gold IEC.
RM9 Push Pull Tube Amp. Used to power Acoustat, 801, 800 speakers. WBT 0700 Connectors. KT88 output tubes. Hardwired for 4 ohm tap. Total Overhaul done April 2015
MATRIX 800 INSTALL
Installation
800 Series Bass Alignment Filter / Equalizer.
The graph shows the 801 matrix frequency response with and without the filter.
All 800 series B&W matrix speakers are an active design and are intended to be used with an equalizer by the designer (John Bowers) to achieve the best frequency response.
This attached graph was sent to me by B&W Europe years ago
It is the frequency plot for the 801 matrix "without" using the supplied Bass Alignment Filter. (not sure if it is 801 s2 or s3)
B&W England are the ones that drew the two dotted lines on the graph.
The 801 matrix speakers were designed to be used with the BAF. The speakers with BAF devices were shipped to original owners. But these devices became lost as speakers changed hands. They pop up on their own on ebay.
The two interesting parts.
Part 1
Not only does adding the BAF filter as designed give you a smoother response and allow the speaker to hit 20 hz. The BAF makes the 801 matrix speaker much more efficient. The ohm ratings can be seen on the right 8 - 6 - 4 - 2 ohms. The 801 matrix s2 and s3 are a very easy 6 ohm steady load with the active equalization provided by the BAF. This opens up amp choices.
Part 2
Audiophile opinions on the BAF device are kind of split. Not sure if its an even 50% like it, 50% don't like it, but you have the two camps. Why the difference? The room; its acoustic properties, and how the 801 (aka relationship destroyer) deals with it. There is a reason B&W no longer make the 801. You need a dedicated room. Its makes no business sense.
801 matrix owners today (there are many out there and some reading here), that could NOT make the BAF work with the speaker; or who never used it, or even heard of the BAF before; are taxing their amps way more to make bass with the 801.
************ SECOND ROOM ***********************
A backwards seven with the main section 20 -23. This room is the "top of the Seven". It is separated from the bottom portion of the Number 7 shape (12 x 24) by a heavy curtain. It is also adjacent to my other room of which the door is left open. The back of the room has the stairs that go upstairs. One of the pictures has me standing on the stairs. All this makes for a much bigger room as far as sound volume and space is concerned. An in progress dedicated listening space that accommodates different speaker types.
03/31/2011 Dynamic, ESL, Planar IMO - We listen to our rooms. The speakers in the rooms are like boats. They both represent freedom to me. A 12 foot aluminum boat is perfect for a small lake and your favourite person. But out on the ocean or a big body of water The water/boat analogy in this case is like your room and speakers. Water waves versus sound waves. There is no perfect boat and no perfect speaker. This is because all our rooms are different and the room is the big rock in this audiophile game. Speakers represent the last piece in the audio chain. Their sound represents everything in your audio chain especially the room, before it reaches your ears. Every piece will have an effect on what is heard. This IMO is why it is so important to have a good source. The last few years my speakers have remained intact and I have concentrated on improving the source components. Each time I improved the source my main speakers improved as well. This tells me they are not a bottleneck and I have not yet reached their limits.
Dynaudio Acoustics BM12s - Two of these in my Quad Room B .
Two of these in Room B - 18hz - 60 hz.
4th order Linkwitz- Riley crossovers have a really steep slope past 60 hz.
On paper this made them look like a really good match for the Quad 57's; but how does such a small box make 18 hz. They have class a/b amps are 4 ohms.
I brought them home and demoed them. Very Punchy, Clean and they go really low. A great match with the raised Wayne Picquet Quad 57's. They are placed under the speakers - see pic in my virtual system.
Quad 57 Wayne Picquet rebuild with Music Reference RM10 AMP
Quad ESL-57 - Wayne Picquet Panels Partnered with the amp that was designed for them - Music Reference RM10 by Roger Modjeski.
With certain music magic for me.
8/20/2012 These Quad 57 speakers were designed and put out before I was born. The parts inside which I have replaced like the EHT modules were stamped 1971. Fourteen years after they originally came out. The panels themselves are only a few years old. They were rebuilt by Wayne Piquet in Florida. The normal music presentation for stock Quad 57s is as if listening to music from the first row of a balcony. If using stock feet a 2 or 4 x 4 piece of wood or brick under the rear leg angling the speaker downwards toward you actually raises this image. This may be a more realistic presentation in your room.
Check out my review. http://forum.audiogon.com/cgi-bin/frr.pl?rspkr&1309018315&&&/Quad-57-
801 Active Monitors - Currently Stored
Currently Stored - "Winnie the Pooh" of speakers. Relationship Destroyer. Owned since 1994. Serious Sound Pressure Speaker can re-create an event in your room when positioned and driven properly. Mothers milk bass. During my time with them have used Solid State and Tube amps (Push Pull and OTL's). In comparison to the DM70 Electrostatic, If the 801 and DM70 were cowboys. The 801s are wearing black hats and the DM70 white ones.
801 Matrix S2 and S3 - Designed by John Bowers to be Active Monitors with use of the BAF and become a sixth-order Butterworth alignment. Without the high pass filter they are a vented fourth-order design, specifically in a Bessel alignment. "Fourth-order" is an engineering term that refers to all vented and passive-radiator speakers; sealed boxes are "second order."
From Stereophile (re: S2) "Higher in frequency, the response trend (averaged across a 30 degrees lateral window on the tweeter axis) is basically flat, but with a slight excess of energy in the presence region and a corresponding lack of energy in the top octave. All things being equal, this will make the speaker both a little too revealing of recorded detail and somewhat fussy when it comes to the quality of source and amplification components, just as LL noted in his auditioning comments."
Some of the changes. S3 used a different crossover than s2 - less component count. Better isolated mid and hf boards. Bass inductors with an iron dust core . Rotating midrange tweeter head assembly was permanently connected. (from 3 to 4 pin delivering separate ground signals to midrange and tweeter) Magnetic fluid cooling of the tweeter (like the 800 matrix) - the reason the apoc protection eliminated (circuits needed for this were also removed)
In nearfield very revealing of room setup, system components - SS and Tube, cabling, TT drive systems, poorly recorded music. They reveal all the flaws of the recording.
Depending on your audio hobby objectives this can be a good thing or a bad thing...
See picture of the Bass Alignment Filter.
B&W Electrostatic DM70 John Bowers / JansZen Hybrid
B&W DM70 Electrostatic Continental Hybrid Speaker Clockwork Orange Movie The late John Bowers (RIP) favorite speakers. JansZen ESL - 500hz and up. B&W Woofer - 500hz and down. Require a large room - elevated to ear level and a good distance from the front wall. Very refined midrange - muscular bass. Non-directional with a large sweetspot.
n]Designed in 1970. No cost or time constraints during the development. From what I can make out they were discontinued due to costs involved. Version One - Power handling 25 watts at all frequencies. Version Two - The later DM70 Improved, which looked identical, is suitable for amplifiers of 25-100w, but seems otherwise identical.
500hz crossover - ESL panel can not be overdriven and is nondirectional.
ESL Panel was provided by JansZen. Sensitivity is 17 watts into nominal impedance required to produce a sound level of 95 dB. at one metre at 400 Hz Double fuse protection C and CA versions.
Modded Acoustat Model 3 - Used In Shared Space Upstairs
Finally hooked up the Model 3's to the OTL's in a temporary fashion.
These are in our living area shared space Custom modded Model 3;s. They have rebuilt interfaces. Unique granite bases with integrated spikes that weigh 80 lbs. Burl Oak Veneer facing and the inside is filled with small sand bags.
Technics SP10 MKII with 2nd ET2 High Pressure Manifold
March 11, 2013 Update
Next version ? will replace the current black base plinth with a more aesthetic one.
Pet Project - Has taught me a lot about resonances and vibrations. SP10MKII Version Five Solid Stainless Steel Legs have threads at both ends and are bolted into the sp10 top plate as well as the solid plinth/platform. The armpod is bolted into the plinth. The plinth is then isolated by the AT-616 Pneumatic footers. 19 lb Solid Brass Pod 1 inch Diameter Solid Stainless Steel.
Previously I had the SP10 MKII in a heavy 7 layer plinth. Birch ply + one mdf layer. This SP10MKII came from a private studio.
This is the second ET2 I own and it is a high pressure manifold
Jean Nantais Custom turntable. Includes: 100 Pounds - Veneered - Two Tonearm Plinth Lenco L75 motor and top plate rebuilt to his standards. Reference model spindle, bearing thrust plate. Bonded Metacrylate mat Bearpaw footers. IEC outlet.
************ SOME NOTABLE MEMORIES **************************
For me some notable equipment. Currently stored or sold-indicated as such.
McAlister OTL 195
OTL195 There is a review contained in my system thread. In comparisons to good Solid State Class A and Push Pull amps they were like driving a 911 but you are limited to 1st gear when pushed. Very fast and punchy. But lack the bass that push pull deliver on. Get the bass right and everything else comes into place. These amps are designed around the needs of Acoustats. My Acoustats are in the shared room upstairs. I no longer own the OTL's.
Fidelity Research FR64s
Gimbal Pivot Arm. I found excellent build quality and a nicely implemented antiskate system. I also found a low frequency resonance that accentuated the bass. A warmer sounding tonearm. It was in my second room with the second ET2 not the ET 2.5. Whenever I started a session with the FR64s it was always nice. But curiosity would always prevail and I would switch over to the ET2. It would always remain there. This happened more times than I can remember. I am not a tonearm collector so it was sold to raise funds for another project. I am in agreement with what Cartridge designer Johnathan Carr had to say about it. http://forum.audiogon.com/cgi-bin/fr.pl?eanlg&1243274438&openusid&zzJcarr&4&5#Jcarr
Modded VPI's
Thread driven TNT and a JMW 12 using rollerblock jrs. SOLD
Acoustat Spectra 33
Acoustat Spectra 33
Eminent Technology LFT 8a
Set up in midfield - soundstage at both sides of the room. So the speaker shown is the left or the right one depending on side of room you are on. Excellent Magnetic Planar Hybrid Woofer Speaker. Very natural sounding but difficult to drive.
****************AUDIOPHILE FUN + ET 2 TONEARM MODS ************** ****
From here down are some inserts from past audiophile fun.
Also contained here is important information on the ET2, 2.5 tonearms as well as some of the mods I have done to them. If any questions on any of them let me know. No Holds Barred tonearm. User needs to be mechanically inclined and be willing to read ET2 manual instructions for proper setup of this tonearm. If bought on the used market a friend that is familiar with the tonearm for proper inspection of condition is important.
Goldilocks and the Three Turntables . See Sept 20, 2019 post comment below on my virtual system for findings / details.
Belt Drive (converted to thread) VPI TNT Idler - Jean Nantais Custom 100 Lb Direct Drive - SP10MKII When compared in the same room(nearfield), with same gear, tonearm and cartridge, same time, differences are revealed. Out into rooms on their own, this is not as noticeable as our ears deal with different room acoustics. ymmv
OTL VERSUS PUSH PULL Tube Amps
In room comparison.
Thread Drive Comparisons
2010 testing out different threads. Fabricland became a favorite place of mine.
ET 2 Tonearm Proper Bass Management - ATB
According to Bruce
My ears agree
ET 2.0 Manifold Before and After Cleaning
Pictures courtesty of a friend.
ET2 VTA Block Destroyed
Thigpen Genius showing VTA Block rack of teeth and worm gear. This one was abused. If you are buying a used one ensure the rack of teeth seen in the pic are uniform with no wear and baldspots. This is an indicator that the VTA block was misused and rigidly tightened stripping the teeth. The bolt was tightened to a point that shattered the CF.
ET 2.0 2.5 Tonearm VTA Block Torquing Procedure
VTA Block - Ensure each of the four bolts is torqued equally or the patented VTA system will be off. This procedures takes just minutes and should be done off table or you will throw your alignment off. Once bolts are torqued the manifold housing can be mounted to the pillar post and the rest of the setup completed.
ET 2.0, 2.5 Tonearm Magnesium versus Aluminum Armtubes
Mag - MC Cartridges Aluminum - MM Catridges The middle ground is the Carbon Fibre arm tube. MM and MC.
ET 2.0, 2.5 Custom Aluminum Joint - aka GOOSENECK
Black one is the stock one. Sourced from Richard Krebs
ET Tonearm Counterweight Bolt Mod
Get a longer counterweight bolt especially if you like to use heavier cartridges. The stock ET2 bolt is on the right. The longer bolt weighs a bit more, holds more lead weights and allows you to use less lead further out on the I Beam. This provides for the highest vertical mass which is really important with the ET2 as it has medium to high horizontal mass. a 4 - 1 horizontal to vertical ratio. In my system higher vertical mass means cleaner, less resonant, overall better bass. The brass rings are meant for balancing only. I prefer to use Blue Tack for this purpose.
Et2 Leaf Spring Mods Single, Double, Triple
General Cartridge Guideline
Single Leaf Spring - High compliance
Double - Medium Compliance
Triple - Low compliance
ET2 Pedestal Custom 3
Solid Brass Arm Pod
Koaltar Tweak
my pal 6 months, 79 lbs.
Kitty Tweak Bengal
a real sweetheart
RCA Victor Dog
I introduce Lucky. He is a mixed breed Jack Russell/Chihuahua mix breed. He will be acting as the Victor RCA dog,
The original Victor RCA dog.
He was named Nipper and was born in 1884 in Bristol, England, and died in September 1895. He was a mixed-breed dog and probably part Jack Russell Terrier, although some sources suggest that he was a Smooth Fox Terrier, or "part Bull Terrier". He was named Nipper because he would bite the backs of visitors' legs.
Chris, I gave the 415 six or so hours last night, there just seems to be something magical about the way music sounds. Even though it lacks a lot of the detail and resolution of the Zu 103R or Dyna XX2MKII, there's something about it that just gets the music across, making me connect with the music in a way that's undeniable.
I threw the 103R on afterwards, and while it delivered more of everything, it didn't seem to make me connect more to the music than the STR 415.
Needless to say, it will get much more playing time, now that I know what it can do.
No glue or Blu-Tack yet, somehow the stylus hasn't slid off. I have to get some of the blue stuff.
It seems just the motion of the record traveling past the stylus would be enough to dislodge it and give it a ride to oblivion.
LOL - Put on some really heavy rock with big bass for big groove modulations and see how much time it takes ?
Do you feel you have it sounding decent at this point Dan? It should get better on its own with hours.
The 420 was harder to setup than my 412 because the stylus is so small. At least I cant see any other reason for it. But it is a soundstage champ - deep. It forced me to move my nearfield chair back the first time I put it on. The 420 took around 70 hours but the improvement was really linear so not noticeable right away. But after a week youd say - hey that is sounding better.
I dont have the 415. I have the 412 and it sounds ok right out of the box on the ESLs which are more smoother sounding in general for me although a little bright/harsh on some material still. Its new also though not many hours. My 801s will not let me play at least 15 % of the material that can still sound quite good on the ESLs. They just reveal too many flaws in my gear setup or the recorded material. But that is ok because on the good material they are outstanding. Have a Beatles tape coming to me that I am really looking forward to hearing on them.
Once you superglue there is no return so try the blue tac first. It will change the resonances some.
Super Glue? Huh. It never occurred to me to use Super Glue to hold the stylus on. I honestly don't know what does keep it on, though. It seems just the motion of the record traveling past the stylus would be enough to dislodge it and give it a ride to oblivion.
I think I'll use your Blu-Tack idea.
Yesterday, I gave the STR 415 the deluxe set-up treatment (I had just used the overhang gauge I made up to this point), and eyballed alignment. After the TLC, it sounded quite a bit better. It's still bass-prominent and a bit closed-in sounding, but it still sounds good.
How much time do they need settle in, and give their best, and does it change significantly, ot just a bit?
They sure don't look like they should sound so good, do they?
Hi Dan - Can't remember why I bought that first 420str. It was someones comment on the MM thread, they were cheap so I figured WTH why not. I remember the seller had 70 of them they were all gone soon.
My most naked cartridges these Acutex. Look like there out of a cracker jack box. Frogman thinks it looks like the fuselage on a model airplane.
remember remove stylus guard and 4 dots of blue tac before you decide to actually super glue it.
I'm still pecking away at getting the best out of the 415. I'll let you know ifI make any breakthroughs. They sure don't look like they should sound so good, do they?
Hi Dan glad you got your cartridge working it will improve with hours. Here is a link that shows good close-ups of the various Acutex styli. Scroll near the bottom for the 400 series. How small the 420 stylus is can be seen. IMO as a amateur I think its size and when properly aligned allows it to dig really deep in the groove. The best bass. But if not aligned well, it will scrape the groove sides wrong and cause distortion and sibilance. Any other thoughts?
I finally got the STR 415 sounding good. I shimmed under the front of the cartridge, and that allowed me to get VTA where it needed to be without running out of vertical travel with the sub-arm.
I'm surprised how good it sounds, and it tracks superbly, very smooth. I think once it runs in a bit, it will only get better. Thanks for the help, and for turning me on to the Acutex carts.
I've given up on the Acutex for now, maybe I'll return to it later. Maybe you can give me some pointers on how you got your 420 to sound decent on your 505.
Its hard to diagnose analog remotely being a very mechanical thing with many variables. Im no guru either but here are my some thoughts anyway. The Acutex 4 series seems to highlight setup issues more than other MM cartridges I own. I have a 412 and a 420.
So two things the arm itself and the cartridge. Cant stress enough that the Dyna tonearm will not work close to 100% and you will not hear how good it can be holding that cartridge in the groove - if it is not level with the platter and balanced just like an air bearing tonearm. Most issues I have had with the Dyna have been related to this as it got moved from the JN Lenco, TNT, to the armpod with the SP10. Things can move over time as well as seasons change. Room support beams, rack, plinth, tonearm. So if something is not sounding right I always just start over - takes 10 minutes to check.
From the ground up a quick mental checklist of what I do. Im sure we all do this anyway?
Level the TT stand again especially if it has four legs instead of three.
Level the area on the platter where the stylus will travel.
After u level the platter, check the plinth level. Yes after. Hopefully the plinth - armboard is still level after you level the platter ? Some platters are not mounted totally level in a plinth, so leveling the plinth leaves the platter out. You need the platter level. Can your armboard be adjusted separately for level ? My JN Lenco has armboards that have separate mounting screws that can be adjusted for level. If not u can compensate within the tonearm mount itself.
Mount the Acutex using the jig as best as possible visually being exact does not matter at this point.
Level and balance the DV501 so it free floats - add AS at the lowest amount to just get the tonearm moving to the record edge when let go from the middle of the platter. Id start with the Arm height where the sub arm is level visually with the main arm. Add the necessary VTF. Azimuth should already be pretty close at this point if the arm was balanced and is level.
Now -when the wife is out of the house put on a couple of lps with nice females that croon to you with words like sssssweety, sssssexy, sssaucy, lusssstful, sssensssssuousssss - LOL - if you can get these right all other LPS will be good.
The Dyna jig is great and usually works 8 out of 10 times for me - but if there is too much sibilance the rest of the alignment is all about feel and then listening to me.
It seems a good percentage of the threads on audiogon are pivot owners trying to find the yellow brick road in regards to alignment ? Here is my take on it.
Cartridge alignment to me is like fixing the sharpness on an old TV with those old dial knobs remember those? Well the cartridge/stylus on a pivot arm - IS THE ACTUAL DIAL KNOB . Your initial cartridge position in the jig is like the midpoint on that dial knob. You would fix the sharpness on that old TV with feel and sight. Well this is all feel and listening. If you sense it is a little out, turn the cartridge a touch clockwise. Listen again did it get better or worse. If better but still there (sibilance) move a little more clockwise. If worse go back to the middle and go a smidgen counter clockwise. The jig should have you pretty close as far as overhang goes already, so it should not be necessary to move the cartridge forward or backward. But if it is still not sounding right move it forward or backward a bit. So you have four paths/variables to play with on a pivot arm. Trial and error trust your ears - not the lines on a protractor. I use the jig for Dyna and FR64s now so am not concerned about lines anymore. The first off center lp (all of them?) throws precise protractors out the window IMO. Too many audiophiles rely on these protractor lines and not listening with their ears. Go over the lines - see what happens. TT's are not precise instruments so a precise protractor ?. sorry to digress. ok putting on the teflon suit now.
But if the platter and DV501 are not level with each other ..it won't work good. its like shooting a target rifle with a flawed scope ?
Once that is done I would adjust as normal for bass / treble by raising or lowering the arm again remembering that VTF changes when you move a tonearm up and down and to readjust it. Hope this helps.
Dan - Does your Acutex induce any hum with the big idler motor when you hold it over the turning platter ?
I finally got my XX2MKII sounding better, though it is getting long in the tooth, a re-tip will be necessary at some future point. For some reason, I can't get the STR 415 to sound right at all.
I raised the arm up til it was mis-tracking due to lack of VTF, and it still didn't sound right. I am thinking it just doesn'y like the massive 501 arm.
I've given up on the Acutex for now, maybe I'll return to it later. Maybe you can give me some pointers on how you got your 420 to sound decent on your 505.
420str impressions (based on past and current listening)
Scenarios
1)Listening to this cartridge in the following pivot tonearms. FR64s gimbal, DV505 hybrid, JM12 unipivot
2)A very nice gentleman from audiogon provided me with a unique CD. Recorded on this CD is an LP using a pivot arm with - different headshells 6 of them holding the following Acutex cartridges (312, 315, 320, 412, 415, 420)
3)SL Tonearms (ET2 and ET 2.5 both at 19 psi)
420str impressions
1) In regards to my own pivot tonearms (FR64s, DV505, JM12) I can say that with each of them; after quite a bit of work, I was able to make the 420str sound decent. If you are able to find a sweet spot for yourself do not remove it. Finding the sweet spot again can prove difficult. If using a headshell not an issue.
2) When listening to the LP that was recorded on the CD with a pivot arm / multiple headshells / various acutex cartridges. I personally found the 320, one of the most pleasant sounding and the 420 well it was probably one of the lesser liked sounds for me using a pivot arm on this recorded cd. I feel this is very significant.
3) SL Tonearms
Its a different story on a SL tonearm with a 420str in two ways. With overall sonics (very different presentation) and the ease of setup. Still the 420str forced me to get closer to zenith on the SL tonearm, over the previously mounted empire 4000 diii to get the sound I wanted. Does this mean the 400diii is easier to set up - due to its stylus type? I am assuming yes. So I can therefore say that, how good it will sound even on a SL tonearm is dependent on the level of adjustments available with your SL tonearm to get to Zenith and how well the arm tracks across the lp. I say this because if my tonearm and platter are not level and the wires not binding in the least way - I will get a little sibilance. (a couple sample lps I used to test this - Cowboy Junkies Trinity Sessions, Sade Diamond Life) Being linear means being anal about being level. For these reasons this cartridge sets the bar for me for requiring excellent setup. Its my test cartridge.
The 420str cartridge IMO works better in a SL tonearm. Having heard it both ways Pivot/SL provides a complete story not half. I am assuming this has something to do with the very small stylus and the requirement for precise angle/positioning in the groove as it is very different from all the other Acutex cartridges. Does anyone have a better explanation ?
I am using a small dot of blue tac on all sides of the body where the cartridge slides in. I am also currently running it at 1.9 gms.
I guess I'll send it to SS, unless you think I would be better served elsewhere. What do you say?
I wish I could provide a 3 line answer when asked for my opinion.
Well my opinion on this is solely based on having had two retips done by SS and one rebuild done by Axel. The SS retips took 3 months each.
I wholeheartedly recommend both SS and Axel for any routine retips. This retip procedure as I understand it in laymans terms, they source cantilevers and diamonds assembled and they (PUT IT - IN) the cartridge body. Line it up, test it. Someone (Nikola) tell me if my attempt at layman terms is incorrect. This appears to be a fascinating line of work with few around to do it. Forget about who will end up with the lp and TTs one day. Who will repair cartridges. I predict they will become more disposable or only manufacturer rebuilds ?
Now the dividing line for me between SS and Axel ? SS is for routine work and Axel for routine and also custom work. Peter for some reason felt my cartridge could not be fixed. The suspension was damaged. He called me about it. I think he (the business/staff) is capable to do it but just does not have the time with all the other work he has based on his current (way of doing things) ?
SS retipped my Benc Micro MC3 with a ruby retip, and my Clearaudio Virtuoso with a regular aluminum retip about 4 or 5 year ago. The wait was 3 months. They both came back sounding great. I know from the MM thread that Dave G has had Axel do one of his cartridges. Nikola has had many performed. If they see this maybe they can say how long it took. Nikola has also met this cartridge rebuild master. Dont let the big pond between North America and Europe keep you from sending him your cartridge. He speaks English very well through email. The cartridge arrived quickly to me from him.
Note: I read on the MM thread from Nikola that some prices went up due to the Japan sourced parts maybe Nikola can confirm this if he sees it. I have the old price list but best to get the new one from Axel. Nikola has posted the list on the MM thread.
So for a just a retip I dont feel u can go wrong with either.
I want to add one final thing here. We have all done something in this hobby that was stupid and cost us dearly. I can talk about this now because it doesnt hurt anymore. Dan, getting an old friend back might be putting this mildly now that I think of it. This is more like bringing someone back from the dead. This was my stupid thing - one of them anyways :^(
A few years ago I needed to repair a cartridge clip on the wire of the ET2 tonearm on an armpod. I got lazy and decided to leave the xv1 on there and just brought the whole armpod - tonearm cartridge all attached to my table.
I was about to start the soldering and got called upstairs. Came back down 15 minutes later, sat down and I think I moved the armpod, and it felt like something caught on something. I did not want to look. I waited 5, 10 seconds? Then I looked and saw nothing on the end of the cartridge body. I looked again. My heart sank. My soul left me I think.
I not only loped off the stylus but found out by SS and Axel that I also damaged the coils by the force the cantilever was sheared off with. Ouch. What took so long to repair aside from all the orders from the MM thread, was that one of the bolts was damaged and would not thread. Apparently a special Dyna bolt Axel waited for one from another cartridge but it never showed up. So Axel made one! So what would have cost 191 euros for a straight MC retip - cost me 271 euros to rebuild the coil as well !
I'm glad to see you got your old friend back. I'm thinking I need to send my old Dyna XX2MKII in for a re-tip. It's sounding a little thin these days. I guess I'll send it to SS, unless you think I would be better served elsewhere. What do you say?
A couple of years ago my previous reference cart suffered a terrible accident 15 feet from the TT. It still hurts to think about it. Think medieval guillotine. It was sent to SoundSmith. SS said it could not be repaired and sent it back to me with condolences. It was then sent to the manufacturer. A few weeks later they tell me they want to only sell me a new one.
During this time I got reacquainted with my now 11 year old MM virtuoso which was ruby retipped about four years ago by SS. I also got on board the MM thread train and picked up a few MM cartridges. I heard about Axel there from Nandric (Nikola) first. So - I sent my cartridge to Axel (June 11, 2011) as my last hope. This was it seems eons ago. I confess at times I gave up hope on it. Nikola encouraged me to keep at him every now and then what with all of Axels new found orders through the MM thread he was very busy. Well 15 months later, my dear old friend returned to me today. Thank you Axel.
I cant say enough about this man. I havent even paid for the work yet.
When run at 3 ohms I can make the sound so beautiful and appealing. Running it full out however on the modified ARC preamp produces that aggressiveness that tapes have. I am all smiles tonight.
Your statement about hearing the effects of the quartz-controlled speed correction on that Technics deck intrigues me as I can't audibly detect such a phenomenon on my TT-101 in comparison to my belt-drive Raven?
Henry - This is my last long post on this thread. I have tried to explain this phenomenon the best I can based on 35 years of listening consciously to music. This puts me in my mid teens when I bought my own audio gear for the first time and set up an audio system in my bedroom in my parents home. What I am saying here I say with sincerity, honesty and my personal opinion.
Per my previous post I have never heard a Raven or TT-101 in my setup - so no comment on them.
Four big rock aspects to this phenomena.
First a) External feedback b) Internal TT feedback resonances. As you are an architect I have to believe you have (a) under control. What about (b) however. How do you know the Victor is grounded properly or working in 100 condition. I dont know if you had it checked out by a mechanic. If so ensure the supports you are using for it are not introducing motor interference which will be inputted into the signal. How rigidly are the supports in place ? Do both MM's and MC's work equally well with it?
Two An analogy first. When you have a car you can drive it around all day and night for weeks and it can seem ok mechanically to you. Have you noticed what happens when you drive down an alley way at night or up/down one of those tight narrow parking ramps with the windows open ? All of a sudden you start hearing noises if there are any issues. It could be brake pads rubbing, it could be a wheel bearing. It may also be a belt near the engine. Whatever . Unless you are driving in this type of situation the problem will not manifest itself in more open area, until it gets bad enough.
Why am I talking about this? Well if you want to find out if your car is ok drive down an alley at night with the windows open. Ok - but for this hobby. Over the years I have had the exact same gear in different rooms. All different sounds. I currently have three rooms setup. One of the rooms, the dedicated one I have had since the kids were 1 year old 1995 is a longer narrow room 12 x 24. Multiple speakers have been set up in many configurations over the years. Nearfield always tells the best story with music for me. I can also hear things in that room better than any other room in the house. So I personally believe that 1) Listening in nearfield allows you to hear more and better, before reflections occur obscuring the sound and 2) The narrow alley way increases the audibility of sounds good and bad.
For me personally once I was allowed to hear nearfield, I couldnt go back to another speaker configuration in this hobby personally. Try to picture listening to Acoustat Spectra 33s in nearfield. I also lust after only one thing. The room. Some have great amazing rooms that are big and airy here at audiogon. When I see these rooms I say to myself. Wow. And as long as you are entertaining many friends in a large room. Its fantastic. Especially with large orchestra music. Because of my age I grew up listening to popular music that had groups of 3 5 people. Smaller rooms are fine for this IMO and in nearfield. Different boats for different waters.
Audiogon user Mafuta. Are the speakers - the speakers ? or the room ?
So 2) Room and 3) Speaker Placement. Two more Big Rocks in this hobby to me. Now this is the What I Think I Heard part, or what I didnt hear
The setup
All TT impressions were based on two tables being setup at the same time ready to go with a ET2 HP, and ET 2.5 tonearm both at 19 psi using an Empire 4000diii each. The Empire is a decent cartridge I rate 7/10 in my system. Both with their own phono cables terminating into the same purist audio venusta cable so alternating took little time, as did unplugging one air supply for the other as the connection is on the wall near the turntables. Using two of the same lps. I am not great with words describing sound so bear with me. In this hobby for me, what is always the greatest impact audibly and more noticeable to me, is when something gets taken away or disappears rather than when it is added. When this occurs if it is beneficial, and more pleasant sounding it is I have found a very good thing usually. Many times in the past when I have done something and it added to the sound my initial reaction might have been positive - but over time the sound sometimes proved fatiguing and a backward step. So I am very leery about added comments from folks when discussing their musical experiences. Unless there is a follow up done later that confirms it. Now - I want to talk about listening here for the mechanics only here (like the car in the alley way) and zeroing in on the one area that joins everything in a TT (the center of the TT universe - IMO) and what I consider at this point in this analog hobby to be the biggest Achilles Heel for some turntables, and the most susceptible to structure feedback.
The BEARING.
How many have actually looked at their TT bearing. How many have changed it or tried different lubricants with it. What happened? Well for me the sound changed dramatically each time I tried 3 different bearings and different lubricants with the TNT. My Lenco table has had different bearings put in by Jean Nantais from his own experiments, before I finally got it as it was his personal table. I have never opened up the SP10mkII to look at the bearing . Its plug and play. I just oil it. Not sure if I can even change out the bearing. The one I am using came from a private home studio and was never in a radio station.
Now if changing the physical bearing and adding different lubricants changes the sound so dramatically, how can people come on the forums and say their TT is neutral. There is no such thing as neutral. Its all just personal preferences IMO.
Near the conclusion of my own Goldilocks experiment I studied TT designs, to see which provided what I was looking for. This for me personally is made up of the 6 part checklist I summarized here.
My own personal choice came in as the Verdier table and it was based solely on meeting my design requirements and affordability. I was able to locate two used samples locally. I also chose it because it gave me access to the important parts of the TT as they are exposed. This is what allows us to gain access and upgrade with little cost except our time usually. This is very important to me. At this point of the hobby for me its just more satisfying to do something personally that adds to my music enjoyment. I need and want to know WHY the sound changed. What did I do? It is the intriguing part of the hobby for me, and totally separate from being a music lover, which we all are too. The weighting percentages just change between the two over time for all of us -IMO.
When I put the very first LP on with the Verdier my first gut reaction was - Damn! There was so much more meat on the bones now. It was not subtle. But why was this? Well it was like something had been removed, allowing more to come through. Well the Verdier has no physical bearing. Once I personally heard what a TT with no bearing sounded like in the same room, same gear, same setup it was clear to me. All of a sudden you know what to listen for, once you have heard it. It just becomes obvious and is hard to explain. Something that was in the music before being obscured like a veil, and not as noticeable to me before. Maybe someone with a TT design with no physical bearing can chime in here if they see this ?
The SP10 MKII was the speed stability champ, but sounded a little drier than the TNT and Lenco to me. The Verdier however made the SP10 sound more clearly like it was actually pushing its platter. I hope that is a good word to use. This sound characteristic made me believe I was hearing the effects of the bearing as it was being pushed, let off, pushed let off, pushed, let off .. by the design it is. (bearing/splindle/motor/platter) all connected in close proximity. So that is where my comment comes from. So in summary to answer the question 1) TT external/internal isolation 2) Nearfield 3) Narrow Alley 4) Bearing Design. Right or wrong that is my personal opinion and I am sticking to my story .for now.
This must not be a favourite listening experience for you compared to the Verdier?
Imagine there is a Porsche (or whatever your favourite car is) parked in your driveway. Now if there is a turbo version parked next to it and you are handed the keys to both which keys will you take. Its basic human nature. This hobby is no different. All my tables IMO are good representatives of DD, Idler and thread TTs. They each represent Porsches to me in this audio world. I would be very happy with any of them if I was only allowed to have one TT. I dismantled the Goldilocks setup very shortly after I introduced the Verdier. The TNT is sold. The Nantais Lenco and the SP10MKII are in separate rooms now making nice music for me there. As long as they are not side by side where comparisons can easily be made its not an issue. Its a similar scenario to my DV505 versus ET2 impressions posted here earlier. My biggest challenge right now is not TT based. When I walk downstairs the 801s are in a sealed room on the left and the Quad 57s are on the right. Im left perplexed not knowing which way to turn. They are not separated by 70kms anymore.
Sorry for the long post.
Cheers Chris
"It's not having what you want It's wanting what you've got" Sheryl Crow
that is one serious wall-mount for the SP-10MkII? It should be most effective at resisting structure-borne feedback?
Coming from a professional architect like yourself I take that comment as a sincere compliment. Thank you! I already know what version five is going to be. I was looking for an internet article on structure feedback that I found a while back, that you authored; to link here for the others to see. I can't find it now. Can you provide the link to it ?
Your statement about hearing the effects of the quartz-controlled speed correction on that Technics deck intrigues me as I can't audibly detect such a phenomenon on my TT-101 in comparison to my belt-drive Raven?
I have never heard a TT-101 or Raven in my room/setup so cant comment on them specifically.
This is not a short answer. So let me gather my thoughts and I will summarize my impressions and findings here shortly.
Hi Chris, that is one serious wall-mount for the SP-10MkII? It should be most effective at resisting structure-borne feedback? Your statement about hearing the effects of the quartz-controlled speed correction on that Technics deck intrigues me as I can't audibly detect such a phenomenon on my TT-101 in comparison to my belt-drive Raven? This must not be a favourite listening experience for you compared to the Verdier?
Its a bad angle. But until it starts taking better shape I am still too embarrassed to show the whole space. Too many wires, tools and building materials hanging around.
Please take note of the curtains. They perform three critical functions.
1) Sound treatment. 2) Hide unfinished walls. 3) Hide Acoustat Spectra 33 speakers so my wife doesnt get too mad at me too quickly.
The SP10 MKII Version Four is complete. Shes finally on the load bearing wall in the new room. Four Solid Stainless Steel legs are bolted to the top Sp10 plate along with the MDF plate/plinth below. This whole thing still rests on the AT616 footers which now sit on top of the hung wall shelf. Update pic added to the SP10 header in my page.
I got some news today from Germany regarding my XV1. Axel had received a screw/bolt for the repair that did not work well. He had to machine a new one himself. He thinks it will be ready in 14 days. A Japanese cartridge that has been rebuilt by a German. Thanks to Nikola for giving me the courage to ask him about it. The squeaky wheel analogy may have worked here? Fingers crossed.
Cheers everyone Posted some turntable impressions on June 29 - called big rock - small rock. The next day lost total access to my virtual page ? Still no access. Have some new pics to upload. If this is not resolved soon will start using a separate web page for all pics.
The room my Quad 57s are in will no longer be available. I got permission from my wife to finish a large space in the basement that was used only for storage. It is adjacent to the dedicated room containing the 801s. So I am acquiring more dedicated space and in return I am giving up shared space on the main floor.
Prepping and finishing this space through the summer. This will include adding some studs in sections on load bearing walls to ensure I have the necessary 16 inches between studs to hold a turntable shelf in multiple locations; so I can experiment with speaker placement. New room so many new possibilities. Enjoying summer and travelling. Hope everyone is well.
Thank you Henry I am really happy that you enjoyed Goldilocks and the three Turntables and appreciate your comments. Poking fun at ourselves is a requirement of Balkan humour as Nikola likes to say. I can now also post details supporting my statements and will do so soon. Cheers Chris
Hi Chris, I really enjoyed reading your Goldilocks and the three turntables. You have reached some informative opinions after conducting thorough and useful in-loci experimentation. I value your methodology and the conclusions you have assembled here. Regards Henry
Hi Dave/Dan appreciate the comments. When you do a brain dump like that it is very difficult to click the submit button, when everything being said is based solely on what I am hearing, just an end user representing one opinion among many.
Dave you said.
the Durand in the Evolution/Blue Light room turned my head with the potential for a bit more than I am getting from my linear arm. (The Durand in another room was not as impressive.)
What you heard re-affirms to me that there is no silver bullet in this hobby, and the most important thing to me in this mechanical analog hobby, is still actual setup and attention to detail. I am willing to bet that the folks involved with the Evolution/Blue Light room have been working together on the setup for a quite a while ? or was the actual layout of the other room much different in comparison ?
Dan - A VTAF for the DV505 sounds interesting. I know one exists for the FR64s but have not felt a strong enough need to purchase it yet.
