rowuk
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Post by rowuk on Oct 24, 2007 13:17:07 GMT
I keep coming back to the Hafler set up even today for rooms with less than optimal geometry. The out of phase component is what comes out of the additional speakers, no additional amp needed, nothing synthetic! It is compatible with about 90% of what I like to listen to! I am going to try some full range Vifa 8cm drivers for the ambience speakers. They are cheap and amazingly transparent for about EUR 45 each!
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rowuk
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Post by rowuk on Sept 27, 2007 22:23:34 GMT
The Dynaco/Hafler quad set up was much easier. 2 front speakers hooked up normally, 2 in the rear with the + connections attached to the amp and the - connections attached to one another. The front speakers had pure L+R and the other 2 had L-R and R-L. That created a phantom image of what was in the original recording but out of phase (like room information). Bob Carver implemented this in his sonic holography(Carver and Sunfire products) technology with op amps.
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rowuk
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Post by rowuk on Oct 8, 2007 15:45:20 GMT
I used hot glue to tack computer network cabling to a wall where nails were not allowed. The following summer, I got the opportunity to remove the remains of the glue and reattach the cabling (it was a good customer) with something proper. Ever since, I have been leery of hot glue for "permanent" things. The mains connector is just too serious to screw about with and surely qualifies as "permanent". The glue does not need to completely melt to comprimise the "insulation".
Shredded Wheat boxes are porous in nature so whatever glue used has a bit more to grip to. I am sure there is so much "cool" stuff in your workshop that thoses sticks never get a chance to melt......
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rowuk
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Post by rowuk on Oct 8, 2007 13:56:27 GMT
Due to the fact that glue sticks have a very low melting point AND can be remelted, their use is EXTREMELY hazardous in conjunction with mains voltages. One very warm summer day and you will know that you made a mistake. Use 2 component epoxy or silicone caulking. Much better thermal properties!
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rowuk
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Post by rowuk on Sept 24, 2007 23:10:14 GMT
So, if the hi fi rendition IS a performance in its own right, we cannot make any claims to accuracy of the sound stage or perhaps even tonality. We then have to question how far away from real is still acceptable and what we require to make a decision whether one unit is "better" than the next.
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rowuk
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Post by rowuk on Sept 23, 2007 16:36:54 GMT
Getting back to audibility, assuming ABX will barely show differences of 0,4dB on broadband music, what do we use to "see the light"? When do we know that we are listening to an exact image of the original and not an exaggerated or watered down version. Is a broader soundstage more or less real? Does more "air" mean that we have uncovered a layer, or added euphonics? Is it possible to "recreate" an original?
I have often thought about this when sitting on stage, in the orchestra, in very fine sounding halls. I miss the pinpoint hi fi imaging in real life. I notice how I can focus on the instrument that I am looking at and that my eyes and ears are in constant motion, giving me another dimension. This is much different than listening to my speakers (or headphones) where I have nothing relevant to look at. I have often thought a circuit that would change the perspective appropriately if I turned my head would help to get the image out of my head. Yes, there is so much that we miss. In real life, we only get one shot per event. HiFi is at least repeatable until we get it or imagine it!
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rowuk
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Post by rowuk on Sept 22, 2007 12:52:57 GMT
Maybe I read it wrong or too quickly but my impression of what he was saying, was that the reliability of ABX testing for small differences in loudness only, was suspect. He then digressed into some speculation in respect to the application or interpretation of these results. Many of the perceived differences we are looking for are not in the area of perceived loudness but of tonality, dynamics, PRaT etc., where any findings in respect of the audibility of loudness differences are irrelevant. I would tend to agree with rowuk in respect of listening methodologies, but consider that subsidiary to the thrust (as I perceive it) of the article originally referenced. What I was saying is that ABX is only useful to highlight a difference, but is useless to put a difference in context. Take a drink of orange juice and immediately after swallowing tomato juice. Eat some bread, drink some water then do the reverse. What did we learn? That there is a difference between tomato and orange juice. You learn NOTHING about the origin of the tomato, if there is any added sugar or flavour enhancers. The exact same thing happens with our ears (I teach trumpet and use this theory to great advantage). ABX ANYTHING and you will register the differences of all but the pedigree of none. Tonality is more than loudness. With hifi we need to savour the essence of what the designer presents. That is impossible in an ABX test. IF we want joy in sound reproduction, we must learn to trust our ears and brains in context. My second son just got his degree in recording engineering. We often mix recordings together. He uses Beyer DT770s and for my ears they sound NOTHING like reality - but he hears things for the edit that I miss - and not because my AKG701s have "bad" resolution! Context, nothing but context! It is ART. Let's leave the science to the scientists and be greatful that we have SOME scientists with ears!
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rowuk
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Post by rowuk on Sept 21, 2007 15:38:53 GMT
........ What we do here in this forum, is change one or more parts and listen the difference - what we hear is more subjective (or imagination) as a statistic and scientific established comparison To do this at least we must use ABX tests. ....... I disagree with ABX testing. While differences between units become obvious, the interaction with our sense of listening is reduced to short samples and the favoured unit is only proven to be such in that confusing context. If we listen to one unit for an hour and take notes, then take a break and listen to the next unit, we can compare notes and have more accurate descriptions of the synergy between the equipment and our brain. This is more of a wine tasting approach - and we would not dream of ABX tasting wine- or? Our sense of hearing and taste work in very much the same way as far as our brains are concerned. Why confuse ourselves with tonality unless we are just trying to prove that a difference exists (but we knew that in the first place)!
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rowuk
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Post by rowuk on Oct 30, 2007 10:23:04 GMT
after long time David replied - I have an "eye" for a MKIII board and a DC protection board too - and then I will make a new amp with cascode PSU too - and without splitter? But I am in a Catch-22 situation - should I make a new WNA MKIII or buy a Graham Solo - but can anyone help me to detach my dilemma Fritz, you need both. Your mind will NEVER be at rest until you have them both next to each other! I think you deep inside even know what the end result will be. You are a victim and slave of your thirst for knowledge! EINFACH KAUFEN!
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rowuk
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Post by rowuk on Mar 7, 2008 19:13:14 GMT
This is a picture of the back of a GFA-555. Hope it answers your voltage question (although I hope they made one for the European market) There was an international version with a switch for 240/220/110/100VAC 50/60 Hz. It was sold to Europe and to the NATO forces stationed in Europe.
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rowuk
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Post by rowuk on Mar 7, 2008 19:17:43 GMT
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rowuk
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Post by rowuk on Dec 10, 2007 23:55:17 GMT
Have heard the Nutilus and the Acapella Acoustic horns. Pretty tasty stuff!
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rowuk
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Post by rowuk on Nov 23, 2007 11:52:31 GMT
Toad, I have a large customer here in Germany that tried to migrate 400 users to openoffice. We even had the OO developers on the project. It failed. Why? Open source like DIY can be very good but there is no corporate deadline attitude. Things get better when somebody gets to it and THAT is a problem when you can't wait. If the feature set fits (I use it in my own business), it is awesome. If not, many times it is not worth the trouble. Open Office as a corporate solution is fine until you need advanced formatting or scripting compatibility with the MS world. This is my fear with multimedia. If the providers of content "favor" the MS solution, they will offer proprietary solutions that are only 90% compatible with the rest. Just imagine if a Microsoft DRM for video streaming takes hold!........................ Microsoft has the linux distributions so scared that they do not even offer an mp3 player with the packages. The user has to get one themselves afterwards! Apple does not make iTunes available for Linux. The windows media player will play mp3 however.........
Did you know that MS owns the rights to TCP/IP? Do we have a plan B or do we have to wait until somebody gets around to it?
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rowuk
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Post by rowuk on Nov 22, 2007 12:40:53 GMT
What a great idea, give Microsoft further control over things that are fun in my life! This is no victory for me, rather I fear it is more reason for an industry based on profit to offer even less choice! Microsoft does use the KISS principle as a mainstay of its business plan: Kill Independent Software Specialists
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rowuk
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Post by rowuk on Nov 21, 2007 10:17:43 GMT
High quality active speakers take away all of the voodoo of speaker wire and force the sound concept of the designer on your listening situation! I consider this a good thing, because the companies building that stuff generally have a good idea of what to do! You are SOL (Shit Out of Luck) if you prefer valves though.
I heard some PMC active speakers recently worth about 1000 quid. They knocked my socks off. My second son has a set of Adam active studio monitors (about EUR 600 for the pair) that have so much detail, it sounds surreal! The B&Ms that Manfred mentioned or the big Genelecs that are often found in recording studios also demonstrate the quality possible.
This concept is definitely worth investigating if you are someone more interested in the audio experience instead of the path to get there!
A good quality shielded audio interconnect is not much smaller than speaker wire so you haven't gained much in making your setup disappear!!!!!!!!
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rowuk
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5 HZ
Dec 10, 2007 23:51:13 GMT
Post by rowuk on Dec 10, 2007 23:51:13 GMT
I have the Telarc on vinyl. Areal challenge for any pickup system!
Merton, I really believe that this works. It is basically a helicopter rotor tuned for audio frequencies. Using a fan means that they can go all the way down to DC and getting the propeller pitch to change up to about 40Hz is no big mechanical issue. The largest amount of musical information below 30 Hz are standing waves of large acoustical spaces. You may have noticed when you are in a large cathedral, you can feel the space even if there is no "noise". There is ALWAYS some soundwaves moving about. A proper low end can increase the realism of just about any recording just by giving you better image of the room!
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rowuk
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5 HZ
Dec 6, 2007 12:11:37 GMT
Post by rowuk on Dec 6, 2007 12:11:37 GMT
Could even be cool for use with headphones. Those octaves are reserved for your body, not the ears..............
I do leave my subwoofer on sometimes when listening to my phones. It does increase the atmosphere appreciably.
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rowuk
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5 HZ
Nov 20, 2007 12:48:10 GMT
Post by rowuk on Nov 20, 2007 12:48:10 GMT
Check this out! www.eminent-tech.com/main.htmlClick on the TRW-17 picture for details. Perfect for use in conjunction with headphones! If this doesn't shake your booty, nothing will! It also gives a clean meaning to the expression "blow job".
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rowuk
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Post by rowuk on Nov 15, 2007 10:11:47 GMT
It is interesting to me that no other industry uses wood as an acoustical isolation material. Recording studios avoid any type of "hard" material as soundwaves travel through them. Musical instruments are built out of wood specifically for its wide band resonant properties. Clarinets and oboes are made of grenadilla wood (as hard as ebony). Recorders are made of ebony, olive and many other types. Violins, violas, celli and string basses are made from woods in the pine family. The story is always the same: a hard wood for projection, a soft wood to form the sound. I seriously doubt the "isolation properties" at audio frequencies EXCEPT perhaps for LDF or MDF.
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rowuk
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Post by rowuk on Nov 8, 2007 11:34:49 GMT
SandyK, sorry to hear that. I left the doctors the choice between bone marrow or stem cell (or both). THEY picked stem cell. I hope that is significant. I lost my mother to another form of cancer, albeit a couple of years later.
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rowuk
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Post by rowuk on Nov 8, 2007 10:58:12 GMT
Hi all, I was in the hospital for a couple of days for a stem cell donation to help somebody with leukemia. Otherwise I would have responded earlier.
The sound was not good after the insertion of the isolation trafo (no slam in the bass and a veiled top end).
I tried various grounding schemes - the only one that worked was to disconnect the earth on the computer PS (not safe and not a real solution) Of course a hum free USB solution would also be of interest. I am going to try an M-Audio Fast Track-Pro first (have it laying around) There are extensive mods for the TC7510 (and its little brother the TC7500). This looks similar to the BT928 mods documented at RockGrotto. I am not sure that this is the best way to go!
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rowuk
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Post by rowuk on Nov 5, 2007 15:21:49 GMT
My oldest son uses the computer as his sole audio source. We have trouble with hum when it is connected to the hi Fi. I took the easy way out and slapped an isolation transformer in between, but the audio quality leaves something to be desired. I think I want to take the toslink out from his soundcard and run it to an external DAC. No copper between them, no ground loop is my thinking. He is not posessed by things audio, has a decent amp/preamp (Carver) and very fine speakers (built by me). I have tried various sound cards hoping that I would get a hum-free match - no luck yet. EUR 200 is the limit. Any ideas?
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rowuk
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Post by rowuk on Nov 15, 2007 10:16:09 GMT
I use an M-Audio FastTrack Pro from time to time and have had fantastic results. The headphone output is a bit to low for the AKG K-701 - I need to open it up and see what they are using for an analogue amp. Maybe there would be a good mod........
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rowuk
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Post by rowuk on Nov 4, 2007 18:27:24 GMT
We also have a TC 7500 in Germany for about 80 Euronen, the 7510 costs twice as much. There is also an article about modifying the cheaper one on a german Hi Fi forum.
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rowuk
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Post by rowuk on Oct 24, 2007 13:54:29 GMT
Carbon fibre is very expensive. I am sure that cases even if made in China by children under 10 years old using carcinogenic resin, would raise the cost another 20 Quid. Now if Graham let those kids solder the Voyager together, he could probably save the ............................... (first put flame retardent suit on with kevlar armouring).............. 20 Quid and keep the price the same. I think that carbon fibre looks extremely cool!
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