rowuk
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Post by rowuk on Oct 24, 2007 13:25:56 GMT
"or fibreglass boats or airplanes" What,no carbon fibre ? There is premanufactured fibreglass that puffs up into a multidimensional structure when soaking it with resin. We used it for large model airplanes to get a stiff but low resonance fusilage. I built some bass reflex speaker cabinets for a Mazda dashboard out of this stuff. It was not "inert" but no frequency was really "excited" by it either. Graham suggested coupling to something heavy. That could be accomplished with spikes. There was a mod for Sennheiser headphones with some self adhesive bitumen stripping. Could be a convenient way to add mass here too without making a mess!
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rowuk
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Post by rowuk on Oct 24, 2007 9:14:06 GMT
Fanboi, if vibrations travel in the direction of the plinth, they will also travel in the other direction. You can short circuit these vibrations by adding (much more) mass. Decoupling the arm would perhaps limit the plinth vibrations (through the bearings, but environmental soundwaves would still come through the disk) but also reduce the mass of the arm assembly, thus making it MORE susceptible to airborn vibrations. The arm bearings on the Sansui probably aren't losing that much energy, the plinth is probably doing a better job of not getting excited. A dead plinth is a good plinth. That is where I think you should start. Mass is not the only way to stabilise. There are matrix schemes (like in the B&W matrix series speakers, or fibreglass boats or airplanes) that keep the mass low to also keep the kinetic energy low.
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rowuk
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Post by rowuk on Oct 17, 2007 12:47:04 GMT
sorry I asked.................... we use carbon fibre in building model airplanes and can use it as the antenna for the radio receiver. We discovered when placing the wire antenna inside, we had no reception. Turning the fuselage into the antenna was successful however. Wasn't meant in flame at you. The rest of the world perhaps.....? Do not feel flamed........... Carbon Fibre still looks cool and the faraday cage principle worked in the airplane..................! ;D
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rowuk
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Post by rowuk on Oct 17, 2007 11:00:37 GMT
Conducts electricity? Yes, I suppose it does like any poor insulator. It is resistive - they make carbon resistors because of that property. In this digital age it would be the last thing I would consider for an enclosure. RF is more destructive than the influence of "room" vibrations - at its extreme it is even carcinogenic! And we ask for more? sorry I asked.................... we use carbon fibre in building model airplanes and can use it as the antenna for the radio receiver. We discovered when placing the wire antenna inside, we had no reception. Turning the fuselage into the antenna was successful however.
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rowuk
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Post by rowuk on Oct 15, 2007 14:49:24 GMT
Fanboi, you are definitely right, tinkering can also be the means to an end! I also learned by doing and have my share of reanimations by coming in contact with the mains......... If nothing else, I would like to offer a reality check from the stage. I perform a great deal and have an active interest in sound reproduction. I try to post for those interested in the synergies. As most commercial music has NOTHING to do with a genuine stage performance, it is useful to try and get inside the head of the recording engineer. That breed of homo sapien (with the Beyer HD770 phones) is as diverse as we all are on this side of the fence! There are those that try and create a recording that will give us the sense of a natural stage. There are also the techies that enjoy a supernatural approach with images that seem to be etched in stone, sound qualities that can only be duplicated by putting our ears right next to the instruments and soundstages that can have instruments flying around the room. As with us, everything from servant to god! This is a case of burning the candle at both ends of the recording/playback process. Only if we can grasp the attitude of the engineer, do we know what to EXPECT at the reproduction end. For the technically oriented, it is almost as important to know who the recording engineer/producer is as the performers!
Graham, I think the forces of inertia could be calculated to compensate for any mechanical resistance from the stylus/groove. The standard (easy) solution is just to throw a lot of horsepower and mass at the problem and then discuss the effects of various motor and bearing schemes. I remember the reviews on rubber, neoprene vs aramide fibre drive belts. Quite possibly the difference was that mechanical resistance changing the speed. Never thought about it back then. Are there any tests about switched mode power supplies making the TT motor sound nervous...........? In other disciplines, a reduction in mass increases the units ability to quickly recover from an instable state - or move resonance to a more advantageous frequency. B&W Matrix speaker cabinets, Fostex or AER fullrange speaker cones, Van den Hul stylus and cantilever, the use of carbon fibre in formula 1 race cars come immediately to mind. Oh yes, carbon fibre. It looks cool, is easily molded, conducts electricity, is tough and of stable form - a material for an enclosure for a Graham Slee product?
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rowuk
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Post by rowuk on Oct 12, 2007 14:05:10 GMT
"The best sign is that comparisons and critical listening have more or less stopped and I am just putting on one record after another to see what they sound like." That to me is what this hobby is all about_enough technology to help you forget it was ever there - immersion into the MUSIC. Congratulations!
"I think a Beethoven 6 might be nice about now" Christopher Hogwood and the Academy of Ancient Music has an EXCELLENT reading of this and the recording sounds very natural too! They play on historical instruments so the sound is considerably different than the standard recordings. Tempi and dynamics are first rate!
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rowuk
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Post by rowuk on Oct 5, 2007 14:11:30 GMT
It sounds like a classical ground loop problem. The units are each "earthed" through the mains cables, for some reason there is a difference in that "ground" and the difference flows through the interconnects. I am pretty sure that if you plug pre and power amp in without interconnects, that you can measure voltage between the RCA grounds. The solution is to get the grounding sorted out. Sometimes attaching a plain piece of wire between the metal chassis "solves" the issue. If you plug a computer into the preamp, the same thing can happen.
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rowuk
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Post by rowuk on Oct 6, 2007 20:25:05 GMT
fritz, he seems to be happy at redrose music! www.redrosemusic.com/mark.shtml"Levinson is also a recording engineer and has recorded award-winning albums for Blue Note artists including Jacky Terrason, the Carnegie Hall Jazz Band, Joe Lovano, and Music Maker Relief Foundation." www.redrosemusic.com/sacd.shtml"These new SACD's from my master archives are a miracle. The artists, repertoire, sonic quality, and emotional impact go far beyond anything previously available. These SACD's prove that you cannot fully evaluate stereo equipment with ordinary CD's. Although made in the 1970's, these recordings are shockingly real and the music is heartfelt. You can listen over and over again, like favorite LP's. Actually, it's like being able to give people copies of my 30 ips master tapes, for the first time, for $20 each. These SACDs are a must for anyone with an SACD player. Here are a few thoughts about SACDs vs. LP and CD." www.redrosemusic.com/essay.shtml
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rowuk
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Post by rowuk on Oct 18, 2007 14:23:18 GMT
I agree with SandyK. I will choose components with properly designed power supplies (or add what is necessary inside the box) that are not dependent on external capacitance, resistance or reactance to do their jobs properly. This is something that a designer could EASILY add INSIDE the amp - unless inconsistent performance is a design parameter! 3 grand buys a lot of music!
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rowuk
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Post by rowuk on Oct 12, 2007 14:22:32 GMT
Hi Alex, that is kind of my point. The $3K kettle lead can only work if something is wrong elsewhere. Fixing THAT is probably cheaper than the lead, with the advantage of improved overall performance. It is the power supplies JOB to isolate.
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rowuk
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Post by rowuk on Sept 23, 2007 14:49:32 GMT
Hi rowuk, so you tried a few different freebee/cheap AC leads on some audioequipment at home and didn't hear any difference. Well that's good for you, than you've nothing to worry about. ;D Han As a matter of fact I did, and did hear a difference. More with some units than others. That can mean the resolution of the equipment, the garbage getting through the power supply or any number of things. If Graham Slee can even get a switched PS wallwart to sound good that means there is hope - even without a 3 grand power cable. I just believe in fixing the problem and not looking for a $3K bandaid. Isolation belongs in the power supply as far as I am concerned. Maybe we need a high fidelity UPS that would "recreate" a perfect 50 or 60 cycle mains. Probably wouldn't cost $3K and offers protection when lightning strikes! When I buy something else "high end" like a Ferrari, I need tires based on the job to get done, slicks, all-weather, snow tires - why? Because I have no control over mother nature and the various types of asphalt that I will be driving on. HiFi has a better, more closely designed and defined interface. Granted, the engineer can make his or her input/output stage influencable. That helps to create a need for expensive interconnects. The same most likely applies to a power supply. Exempting active elements like transistors in the kettle leads, I have capacitance, resistance, reactance and inductance. If any or all of those things make my hi fi sound better, why didn't the engineer build them into the box? Why is the power supply so soft that there can possibly be that much difference? Why do we accept such a product. Do we identify ourselves with the ability to hear the grass grow? I do not argue that cable can change the sonic footprint. Why accept such engineering? What is the real problem here? What gets through THE POWER SUPPLY to make the sound "open" or "restricted"? Does the same DAC built into a headphone amplifier sound worse than separate boxes with expensive interface cables? Is such an "interface" better than direct connection over a PCB? Graham, can you offer some insite?
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rowuk
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Post by rowuk on Sept 22, 2007 15:11:30 GMT
Hmm, if the kettle leads make SOOO much difference, I would assume that the power supply is not doing its job. I would also assume that the house wiring must have some effect, so how in hell if the wiring is of sufficient diameter to prevent thermal problems can a relatively short piece of wire make so much difference? Termination? Of what? 50 or 60Hz? Can that £ 1,000 lead really work? My guess is only with sub standard power supplies. The rest has been electrically isolated, transformed, rectified, regulated, snubbed and stored for future use. If the kettle lead makes an audible difference - your unit is defective - get IT exchanged or your ears. I hear the grass growing somewhere............
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rowuk
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Post by rowuk on Nov 14, 2007 17:17:33 GMT
my primary source now is a Focusrite SaffirePro 8 10 chan microphone preamp/ADC/DAC used for playing back the live recordings that I make. I generally use 2 Schoeps cardioid mics in an ORTF setup and then a couple of suitable mics for the reed and percussion sections.
What does not get enough use is my turntable which is a Kenwood direct drive motor mounted in a 30KG marble plinth with isolating feet. The tonearm is an old Dual with an antiresonant counterweight and a DIY magnetic antiskating arrangement. I am using a luxman high output MC cartridge with a van den Hul stylus. That feeds an ortofon T30 transformer. The phono preamp is a wide band op amp/mosfet design (in a crummy little metal box) that I picked up in Japan at the akihabara.
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rowuk
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Post by rowuk on Oct 10, 2007 14:49:00 GMT
I played with biamping for many years (with an electronic crossover too). When you are using a well thought out design (as I would assume from B&W) the complete system is matched. Different amps will have different "tonality" and that will cause a mismatch in sound. Using 2 of the same amp offers no advantage except perhaps at VERY high volumes. With an electronic crossover you can play god by changing crossover slopes and frequencies. Success there requires VERY good ears teamed up with experience and measuring equipment. In short, for an extremely high end system where money is of little object, it could be of use. Below that-why not spend the money on music instead?
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rowuk
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Post by rowuk on Sept 23, 2007 16:01:13 GMT
I used the Dynaco for MANY years. Never thought ANYTHING was wrong with it (except no moving coil input). It was a DIY playground for me. I tried all sorts of caps and resistors, rolled tubes, etc. I'd probably still be using it if I hadn't received an offer that I couldn't refuse............... Let me know how the AKG-701 sounds with the Green Solo. It is probably my next investment!
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rowuk
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Post by rowuk on Oct 25, 2007 9:07:12 GMT
The function of radio was never a high fi media, rather programming wherever you happen to be. To get reasonable distance you use AM and for basic quality FM. As music over the internet becomes more popular, the radio stations with an internet presence will get the advertising money and that will determine what will remain as technology. I am not aware of an internet technology that would like radio allow almost unlimited quantity of access at full bandwidth. Each connection over a network eats bandwidth so algorithms are appled to get more customers "on line". We can only hope that a "new" technology becomes available to allow more customers more quality.
I built one of those tuners - yes it was great fun.
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rowuk
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Post by rowuk on Oct 2, 2007 11:14:55 GMT
Naturally we can bash the asian pirates, but is that really the issue? Who is giving up on service? It is the customer that wants to have more than they could normally afford that has turned their backs on western manufacturing - and the western manufacturers follow suit by closing factories and relabling cheap asian made goods. As far as higher quality gear goes, the chinese that build QUALITY equipment (=non mass market) also have to cover costs and use high quality components. If they steal a design, there are ways to deal with that. If there are quality control issues, that will also influence our willingness to buy. I agree with Mike, the more the merrier. Graham is here with us building RELATIONSHIPS. There is no free ride and he definitely gives us good reasons to buy his products. It is up to US to support the market. If WE choose cheap, then at one point that is all that will be left. I still see MANY small dedicated operations still alive - not only in the electronics world. Go after that VALUE ADD. It can be done. The Chinese are not the enemy, they are just using a market chance made available by our own greed!
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rowuk
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Post by rowuk on Feb 6, 2008 15:02:25 GMT
69 Solos at about 250 quid each= £17,250 over how many months?
If you are paying rent (heat, electricity, water), doing R+D and have an employee, that does not go very far - especially considering the cost of health care. The win-win is the fact that many may have bought a competing product, had the discount not been available. I am not aware of a contract limiting resale, although one could question whether the purchase was genuinely for pleasure or business. It is really a non-issue, unless Graham has a problem with it. The resale means that even more people are listening to Slee-Fi. I assume that that is desirable! If the Ebay price is close to the retail one, we have the true market value of these fine devices!
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rowuk
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Post by rowuk on Nov 21, 2007 10:46:24 GMT
I also have the 701s and have been using the modded BT928 as well as a Focusrite Saffire Pro 26 / 10 and M-Audio FastTrack Pro. I am saving for the green solo, but the tax people have come so it will take a while........... Is anybody primarily using this combination 701s and Solo? I like the 701s because the instruments sound so close to what I hear on stage when playing.
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rowuk
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Post by rowuk on Nov 19, 2007 13:23:11 GMT
High end audio is 90% marketing and 10% reality. The reality can be pretty ugly and have nothing to do with the sound either!
One can maximize the odds by learning to read the specs. That also involves considering the source of the specs. Graham Slee has some excellent parallels between published spec of op amps and their suitability in the circuit.
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rowuk
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Post by rowuk on Nov 21, 2007 10:51:03 GMT
"My wife prefers the K701." Women usually have more acute hearing ! They must have, because they always seem to be telling you to turn the volume down ! ;D SandyK Women can maintain their high frequency hearing longer. That does not mean that they hear better. I am not aware of any woman recording engineers making waves. The geometry of a womans head is different and THAT will lead to other headphone preferences! I have not been seriously involved with headphones very long, but have noticed that pushing the cans only 1mm closer to the ear completely changes the sound. Quality phones that are lacking bass improve when the earpads are compressed, cans with too much bass are tamed by adding a foam spacer to get them a bit further away from the ear and of course the position of the driver in relation to your ear canal can change EVERYTHING. Just moving the cans a couple of mm forward or back can improve the experience (or destroy) the balance between high, mid and low. I am surprised that very high quality phones do not have adjustable geometry to optimise the sound. It surely would not cost much to implement and increase the amount of sensible tweaking possible! I am sure that geometry is not the only reason for audible differences, but it seems to be greater than any of the other technical explanations!
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rowuk
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Post by rowuk on Nov 14, 2007 15:50:49 GMT
I play trumpet with several orchestras and find the AKG K701 comes closest to matching the sound that I experience on stage. The tonal color of the instruments (even human voices) is VERY close to real. The W1000 is much more spectacular than real. The only other high-end phone (besides some Stax) that I tried was the Beyer 880. They do not match the geometry of my head and that caused them to not sound right.
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rowuk
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Post by rowuk on Nov 8, 2007 11:32:16 GMT
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rowuk
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Post by rowuk on Oct 4, 2007 19:07:53 GMT
There are some reasonable M-Audio external ADC/DACs that have 4 channel (2x stereo) outputs. That should make switching easier. I still question why one needs to switch so quickly. Don't you all trust your ears? It is the only audio interface that you have and can be very easily fooled by slight differences for a short period of time, but NEVER during extended listening periods.
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rowuk
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Post by rowuk on Oct 6, 2007 20:11:27 GMT
Bozzy, great post! Is it not a question of what you expect from your hi fi? If you define yourself with what you own, then there is certainly motivation to listen to the interconnect and not the musical instruments on display. If you have a fine system and it fits like an old shoe, then there is no hurry to destroy your joy of music by letting technology get in the way. Maybe more live concerts will show you that you are VERY close? The first step for me is to become more aquainted with the REAL thing and then you have a better grip on what to expect! Most live concerts that I go to (most often as the trumpet player on stage) have serious room mode issues..................... Imaging is also not that what we would expect from first rate hi fi either. Tell us what you have, there seems to be plenty of qualified opinions here!
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